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Head Specialist Contemporary & Modern Design
Jonatan Jahn, +46 703 92 88 60 jonatan.jahn@bukowskis.com
Head of Design/Specialist Modern & Contemporary Decorative Art & Design
Camilla Behrer, +46 708 92 19 77 camilla.behrer@bukowskis.com
Specialist Modern & Contemporary Decorative Art & Design
Karl Green, +46 700 07 94 25 karl.green@bukowskis.com
Chief Specialist Modern & Contemporary Decorative Art & Design
Eva Seeman, +46 708 92 19 69 eva.seeman@bukowskis.com
Head Specialist Carpets, Textiles & Islamic Works of Art
Christopher Stålhandske, +46 708 19 12 58 christopher.stalhandske@bukowskis.com
Head Specialist Art/Deputy Managing Director
Andreas Rydén, +46 728 58 71 39 andreas.ryden@bukowskis.com
Specialist Contemporary Art
Louise Wrede, +46 739 40 08 19 louise.wrede@bukowskis.com
Specialist Photographs & Contemporary Art
Karin Aringer, +46 702 63 70 57 karin.aringer@bukowskis.com
Specialist Prints
Marcus Kinge, +46 739 40 08 27 marcus.kinge@bukowskis.com
Cover: Alex Katz, ‘Cane Garden Bay 2’. Back: Mats Theselius, an ‘El Rey’ armchair, ed. 275/360, Källemo, Värnamo post 1999. Jonas Bohlin, a rare ‘Iron Concrete’ armchair, Källemo, Värnamo 1987. Mats Theselius, an armchair, variant of ‘Järn/Moccafåtöljen’, custom made, Källemo, Värnamo post 1994.
1. Guido Drocco & Franco Mello (Italy) a “Cactus” coat hanger/sculpture, ed. 298/2000, Gufram, Italy, 1986. Polyurethane, green lacquered by hand, maker's mark Gufram
Multiple ´86 Cactus 298/2000. Height 170 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530
2. Mario Marenco (Italy, 1933–2018) a “Cynthia” ceiling lamp, Artemide, Italy 1960s.
Profiles in brushed aluminum, pendant in chromed metal.
Height 120 cm, ca 63 x 63 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
3. Sergio Mazza (Italy, 1931–) a pair of “Clio” wall lamps, Artemide, Italy 1960s.
Wall brackets in steel, two spherical glass shades each, internally frosted.
Height approximately 30 cm, length from wall approximately 32 cm.
Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 060
4. Gianfranco Frattini (Italy, 1926–2004) a set of nesting tables model “780”, Cassina, Italy post 1966.
Beech, reversible tops in white and black laminate, marked with label
Cassina MADE IN ITALY. Largest table height 38.5 cm, diameter 40 cm.
Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 060
5. Gaetano Pesce (Italy, 1939–2024) vase, “Amazonia”, model “907”, edition Fish Design, 1990s. An “Amazonia” vase, model “907”, edition Fish Design, Italy 1990s.
Provenance: Reportedly this piece was acquired in London during the 1990s.
Estimate: SEK 3 000 – 4 000 / EUR 270 – 360
6. Gaetano Pesce (Italy, 1939–2024) a “La Mamma” armchair with ottoman model UP5 and UP6 from the 2000 series, B&B Italia, Italy.
Polyurethane foam, fully upholstered in striped textile, armchair labeled. Width of the armchair 120 cm, depth 130 cm, height 102 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
7. Patricia Urquiola (Spain, 1961–) a “Tufty-Time” sofa, B&B Italia, Italy post 2005.
Four sections, steel and foam frame, upholstered in light fabric, labelled. Depth 110 cm, height 60 cm. One corner section length 175 cm, one section with armrest length 110 cm, one middle section length 100 cm, and one footstool/side section length 70 cm. The total length of the long side is 345 cm. Three decorative pillows with contrasting fabric are included.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060
7A. Matthias van Arkel, a carpet, “Baroque” tufted, c 348 x 199 cm, EGE Carpets, Denmark 2023, signed and numbered 1/6. Produced in collaboration with Senior Advisor Kjell Brobacke, manufactured at EGE Carpets in Denmark 2023.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530
8. Withdrawn
9. Paolo Deganello (Italy, 1940–) a “Torso” sofa, Cassina, Italy 1980s.
Polychrome lacquered metal legs, seat and back upholstered in light fabric. Length 173 cm, depth 75 cm, height 114 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210
10. Patricia Urquiola (Spain, 1961–) a pair of “Silver Lake” armchairs, Moroso, Italy post 2010.
Powder-coated armrests, upholstered in lilac-blue textile, labelled MOROSO. Height 96 cm.
Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330
12. Willy Rizzo (Italy, 1928–2013) a sideboard, Mario Sabbot, Italy 1970s.
Base in white lacquered wood, brass details, front with drawers and cabinets, interior with shelves. Height 75.5 cm, width 120 cm, depth 47 cm.
Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 060
11. Patricia Urquiola (Spain, 1961–) a “Silver Lake” armchair, Moroso, Italy post 2010. Powder-coated armrests, upholstered in lilac-blue textile, labelled MOROSO. Height 96 cm.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 710
14. Andrea Parisio (Italy, 1964–) a “Cole” console table, Meridiani, Italy post 2016.
Metal base, black marble top. Height 60 cm, width 58 cm, length 180 cm.
Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330
16. Vico Magistretti (Italy, 1920–2006) a “Veranda” armchair, Cassina, Italy post 1983.
Natural colored leather, extendable neck and footrests, legs in black lacquered metal. Height when folded ca 75 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890
13. Alessio Tasca (Italy, 1929–2020) a ceramic sculpture, Italy, 1960s.
White-speckled glazed ceramic, label marked Alessio Tasca 36055 Nove Italy. Height 30 cm, width 58 cm.
Estimate: SEK 5 000 – 6 000 / EUR 450 – 530
15. Vico Magistretti (Italy, 1920–2006) a “Veranda” armchair, Cassina, Italy post 1983.
Natural colored leather, extendable neck and footrests, legs in black lacquered metal. Height when folded ca 75 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890
17. Willy Rizzo (Italy, 1928–2013) a sideboard, Mario Sabbot, Italy 1970s.
Black lacquered wood, details in chrome plated metal, front with drawers and cabinets, the interior with shelves and lighting.
Height 75,5 cm, width 176 cm, depth 47 cm.
Provenance: From the Collection of Heidi Boyce Broström (1943–2022) and Dan Axel Broström (1915–1976). Dan Axel Broström was the third-generation ship-owner in the prestigious Broström Company group. When he took over the firm in 1949 they had 18 000 employees. The Canadian model and geologist Heidi was Dan-Axel Broströms third wife, the couple lived at the fashionable Särö, a few miles south of Gothenburg.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330
18. Borek Sipek (Czech Republic, 1949–2016) a “Luigi I” ceiling light, Driade, Italy post 1989.
Frame and ceiling cup in brass, six arms and applied leaf decoration in polychrome Bohemian glass, label marked driade art. LUIGI I.
Total height 120 cm.
Literature: Alexander von Vegesack, “Borek Sipek–The Nearness of the Far Architecture–Design”, Vitra Design Museum, 1992, model illustrated p. 64.
Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 060
19. Ernesto Gismondi (Italy, 1931–) a “Halloween” chandelier, Ve-Art for Artemide, Italy, 1990s.
8 arms, spherical body, stem and ceiling cup in polychrome glass, marked Ve-Art Made in Italy. Height ca 100 cm, diameter 115 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
20. Borek Sipek (Czech Republic, 1949–2016) a table from the “Maletik” series, Maletti, Italy ca. 1995.
Lacquered wood, cherry veneer, metal, glass, and marble imitation, cabinet with shelving behind, two drawers on top, crowned with a vase/candle holder in amber-toned glass. Length 150 cm, depth 75 cm, height 142 cm.
Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330
21. Edward Barber & Jay Osgerby (Great Britain) a “Tobi-Ishi” dining table, B&B Italia, Italy post 2014.
Frame of MDF, surface layer in resin (Baydur) and lacquered in “glossy smoke blue”, marked B&B ITALIA
Edward Barber & Jay Osgerby Tobi-Ishi Made in Italy. Height 72.5 cm, diameter 162 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 650
136. Navet, three from a set of six “Navet” chairs, Stockholm 2019. 21. Edward Barber & Jay Osgerby, a “Tobi-Ishi” dining table, B&B Italia, 346. Torsten Andersson, “Monument med droppe av blått blod. Den kreativa människans blod”. 42. Hans-Agne Jakobsson , a chandelier model “T348/15”, Hans-Agne Jakobsson AB, Markaryd 1960s-70s. 267. Fredrik Wretman, “Budbäraren (Hermes)”. 126. Per B. Sundberg, a ceramic sculpture, Sweden 2009.
22. Massimo Castagna (Italy, 1954–) a “Starlight” ceiling lamp, Henge, Italy post 2018.
The base in cast bronze, 6 light arms with embedded LED-lights. Height 175 cm, length 175 cm, width 85 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300
23. Paolo Pallucco (Italy, 1950–) a pair of armchairs, Gambe-Pallucco, Italy, 1980s.
Upholstered asymmetrical seat, covered in a gray-blue wool fabric, legs in profiled and black lacquered steel.
Seat height 44, height 89 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
24. Antonio Citterio (Italy, 1950–) an “Alcor Storage” cabinet, Maxalto for B&B Italia, Italy post 2014.
Six drawers, a pair of doors, and a single door with shelving, upper part with an open shelf section. Painted MDF in matte black and glossy red. Support frame in bronzed die-cast aluminum with impressed mark MAXALTO made in Italy. Length 135 cm, Depth 46 cm, Height 180 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300
23. Paolo Pallucco, one of a pair of armchairs, Gambe-Pallucco, Italy, 1980s.
26. Verner Panton, parts from an eight-piece “Pantonova” modular sofa model “113T” & “117T”, Fritz Hansen 1970s.
25. Verner Panton (Denmark, 1926–1998) a “Flower Pot” ceiling lamp, Louis Poulsen, Denmark, 1970s.
Enamelled metal in white and black. Maker's mark Louis Poulsen. Diameter
50 cm, height of the shade ca 35 cm.
Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330
26. Verner Panton (Denmark, 1926–1998) an eight-piece “Pantonova” modular sofa model “113T” & “117T”, Fritz Hansen 1970s.
4 straight seating modules, 2 curved seating modules, 2 tables/stools, base in chrome-plated metal, loose cushions covered in white textile.
Seat height 35 cm, height 65 cm, modules width ca. 72 cm, depth ca. 70 cm.
Literature: Depicted in the product catalogue.
Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 300
27. Preben Fabricius & Jørgen Kastholm (Denmark) a model “4391” folding stool, Bo-Ex, Denmark, early 1960s.
Frame of polished steel, seat of braided canvas. Length 64 cm, width 49,3, height 35 cm.
Provenance: Anders Pehrson, (1912–1982). Born in Gothenburg, trained as an engineer. Design manager at Philips AB from 1952 to 1963. From 1963 to 1978, owner and head of design at ateljé Lyktan. His guiding principles were form, function, color, and family. Pehrson became known not only as a talented designer but also as very skilled at marketing. The model Pehrson is most famous for today is his design “Bumlingen”. It was produced in countless variations and colours. Thence by descent.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210
28. Poul Kjaerholm (Denmark, 1929–1980) a “PK-54” dining table, Fritz Hansen, Denmark, 2011.
Marble top, six additional leaves of solid maple, with stand, matte steel base. Impressed stamp POUL KJAERHOLM FRITZ
HANSEN DENMARK in the steel and labelled. Diameter 140 cm, with wooden leaves 215 cm, height 65 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 300
29. Poul Kjaerholm (Denmark, 1929–1980) a “PK-80” daybed, Fritz Hansen, Denmark 2007.
Cushion upholstered in cream-colored leather, steel frame, marked POUL KJAERHOLM DENMARK FRITZ HANSEN as well as a label.
Length 193 cm, width 82 cm, height 32 cm.
Estimate: SEK 70 000 – 80 000 / EUR 6 180 – 7 060
30. Jonas Als (Denmark, 1988–) a unique sculpture, “Crossgrain”, executed in his own studio, Copenhagen, 2020.
Cross-grain turned Danish oak, stitched with spruce roots, height ca 30 cm.
Exhibitions: Tormek, Lindesberg, “Sharp Makers 2023”, June 2–September 30, 2023.
Estimate: SEK 5 000 – 6 000 / EUR 450 – 530
In the 1958 Ikea catalogue, “Focus” is presented with the following text:
“Exclusive, certainly, but why shouldn’t one be from time to time, especially if it doesn’t cost extra. In an artist’s loft, at a modern art exhibition, indeed, why not in your own living room. Your friends will congratulate you, and you will enjoy it. It is Architect Bengt Ruda who has sat at the drawing board, and he has done so with pride. Durable and smooth oxhide signifies longevity and harmonises well with the graceful lines of the nickel-plated steel tube frame”.
33. Bengt Ruda, a rare “Focus” easy chair, Ikea 1950s-60s.
32. Svein Gusrud (Norway, 1944–2022) a pair of “Sevilla” armchairs, Møremøbler, Norway 1990s.
Frame in stained bentwood and black lacquered metal, leather upholstered seat and back, labeled Møremøbler ørsta a·s.
Height 86 cm, seat height 44 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330
31. Erling Viksjø (Norway, 1910–1971) a coffee table, A/S Conglo, Norway, 1960s-70s.
A conglomerate (Terazzo) stone top with brass lining, base in mahogany. Height 50 cm, diameter 100 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
33. Bengt Ruda (Sweden, 1918–1999) a rare “Focus” easy chair, Ikea 1950s-60s.
Nickel-plated tubular steel frame, upholstered with leather. Height 80 cm.
Literature: Catalogue, “Möbel-IKEA Älmhult: Inredningskatalog–58/Lyckokast till Önskebo–58”, Aller press 1958, model depicted on p. 17.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
34. Erik Höglund (Sweden, 1932–1998) a mirror, Eriksmåla Glas, Sweden 1960s.
Frame in pine with circle decorations, maker's mark Erik Höglund, Eriksmåla Glas. Height 118 cm, width 67 cm.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 710
35. Jan Ekselius (Sweden, 1946–) a pair of “Etcetera” lounge chairs, J.O. Carlssons Möbel AB, Vetlanda, 1960s–70s.
Original blue fabric. Seat height ca 42 cm, height 69 cm.
Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 060
36. Uno & Östen Kristiansson (Sweden) a pair of armchairs, an ottoman and a table model “Breda”, Luxus, Vittsjö 1960s. Base in oak, loose cushions covered in grey textile, marked with label. Seat height 45 cm, height 66 cm, table height 40 cm, top dimensions 60 x 60 cm.
Literature: The model depicted in Bo Sigeback, “Under Luxus tak: brödraparet Uno och Östen Kristiansson : med design för hem och offentliga miljöer”, Luxus 2008, model illustrated.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
37. Olle Alberius (Sweden, 1926–1993) a pair of table lamps model “2214/271”, Orrefors, 1960s.
Base in crystal glass, socket in chrome plated metal, pleated shades, labelled 2214/271 Orrefors Design O Alberius and signed Orrefors AD 2214. Height with shade 55 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330
38. Olle Alberius (Sweden, 1926–1993) a pair of table lamps model “2214/271”, Orrefors, 1960s.
Base in crystal glass, socket in chrome plated metal, pleated shades, labelled 2214/271 Orrefors Design O Alberius and signed Orrefors AD 2214. Height with shade 55 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330
39. Gunnar Asplund (Sweden, 1885–1940) a “Stockholm 30” armchair, ed. 9/50, Källemo, Värnamo post 2009.
White painted steel frame, seat and back in mahogany with leather upholstery, marked with metal tag: Karmstol Stockholm 30 av Gunnar Asplund Upplaga 50 ex. numrerade från 1/50–50/50 Producerad av Källemo i samarbete med Asplundstiftelsen 2009 and numbered 9/50. Height 78.5 cm, seat height 45 cm.
Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330
40. Börge Lindau & Bo Lindekrantz (Sweden) a pair of “Fälltavla” coat hangers, Lammhults, post 1972.
White lacquered wood, foldable with mirror interior. 50 x 30 cm.
Literature: Hedvig Hedqvist (et al.), “The Collected Works of Lammhults”, Second Edition, Nørhaven 1999, pp. 250–251.
Estimate: SEK 4 000 – 5 000 / EUR 360 – 450
41. Hans-Agne Jakobsson (Sweden, 1919–2009) an “Estrella” ceiling lamp model “T580”, Hans-Agne Jakobsson AB, Markaryd 1960s–70s.
Polished brass, 6 light points, amber-coloured glass, labeled HANS-AGNE JAKOBSSON AB MARKARYD SWEDEN T580. Diameter 50 cm, height 43 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 650
42. Hans-Agne Jakobsson (Sweden, 1919–2009) a chandelier model “T348/15”, Hans-Agne Jakobsson AB, Markaryd 1960s-70s.
Polished brass, 15 light points with shades in smoked glass, labeled HANS-AGNE JAKOBSSON AB MARKARYD SWEDEN T348/15. Diameter 97 cm, height 60 cm, total height 185 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530
42A. Hans-Agne Jakobsson (Sweden, 1919–2009) a ceiling lamp model “T606/95”, Hans-Agne Jakobsson AB, Markaryd 1960s-70s.
Polished brass, six light points with fringe shades, labelled HANS-AGNE JAKOBSSON A/B MARKARYD MADE IN SWEDEN.
Diameter 70 cm, height ca 40 cm.
Estimate: SEK 25 000 - 30 000 kr / EUR 2 210 – 2 650
43. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of “Sonata” wall lamps model “V169–5”, Hans-Agne Jakobsson AB, Markaryd, 1960s.
Brass, five cylindrical shades in smoke tinted glass, maker's mark Hans-Agne Jakobsson AB, Markaryd, “V169–5”. Height 64 cm, width ca 48 cm.
Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330
44. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of “Sonata” wall lamps model “V169–5”, Hans-Agne Jakobsson AB, Markaryd, 1960s.
Brass, five cylindrical shades in smoke tinted glass, maker's mark Hans-Agne Jakobsson AB, Markaryd, “V169–5”. Height 64 cm, width ca 48 cm.
Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330
44A. Hans-Agne Jakobsson (Sweden, 1919–2009) a table lamp, model “B-99”, Hans-Agne Jakobsson AB, Markaryd 1960s-70s.
Base in black lacquered metal, shade in white lacquered sheet metal, height 43 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890
45A. Humans Since 1982, a wall clock/sculpture, “ClockClock 24”, ed. 321/950, Sweden 2016.
Corian, hands in black metal, maker’s mark, length 90 cm, height 40 cm, depth from wall ca 3,8 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
45. Hilma af Klint (Sweden, 1862–1944) a carpet, “Group V, no 2. Series WUS, Seven Pointed Star”, numbered 9/30, hand tufted, c 195 x 160 cm.
Produced by Asplund in collaboration with the Hilma af Klint Foundation and CFHILL. Hand tufted in India around 2019.
Provenance: Purchased at C F Hill, Stockholm.
Estimate: SEK 18 000 – 20 000 / EUR 1 590 – 1 770
48. Jonas Bohlin , a “Slottsbacken” cabinet, Källemo, Värnamo post 1987.
46. Gert Nyström (Sweden, 1913–2000) a pair of “Festival” chandeliers, Fagerhult, 1960s-70s.
Frame in white metal, metal frame with molded cylinders in clear glass. Diameter 60 cm, total height approximately 145 cm.
Provenance: Swedish Order of Freemasons, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
47. Gert Nyström (Sweden, 1913–2000) a pair of “Festival” chandeliers, Fagerhult, 1960s–70s.
Frame in white metal, metal frame with molded cylinders in clear glass. Diameter 60 cm, total height approximately 145 cm.
Provenance: Swedish Order of Freemasons, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
48. Jonas Bohlin (Sweden, 1953–) a “Slottsbacken” cabinet, archive edition of 200 copies, Källemo, Värnamo post 1987. Stained oak, sheet iron, the interior with five glass shelves, marked with plaque SLOTTSBACKEN av JONAS BOHLIN 1987 för KÄLLEMOVÄRNAMO-SWEDEN. Produced in 200 ex 1/200–200/200 and 10 ex signed 1/X–X/X. ARKIVEX JONAS BOHLIN. Height 210 cm, width 70 cm, depth 37 cm.
Estimate: SEK 100 000 – 150 000 / EUR 8 830 – 13 240 (d)
49. Jonas Bohlin (Sweden, 1953–) a “Concav” chaise longue, Källemo, Värnamo ca. 1985.
Laminated wood lacquered in purple/blue, seat upholstered in a beige fabric, legs in black lacquered metal. Length 215 cm, seat height 45 cm, height 70 cm.
Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 060
50. Jonas Bohlin (Sweden, 1953–) a rare “Iron Concrete” armchair, Källemo, Värnamo 1987.
Iron, signed j. BoHLiN. Height 89 cm.
Provenance: Designer's Private Collection.
Stockholms Auktionsverk, “Hommage à Jonas Bohlin”, February 10, 2003, cat. no. 15.
Literature: Dan Gordan, “Svenska stolar och deras formgivare”, Norstedts 2014, mentioned p. 274.
Estimate: SEK 200 000 – 250 000 / EUR 17 660 – 22 070 (d)
51. Jonas Bohlin (Sweden, 1953–) an “Art Against Aids” table, ed. 2/12, Pukebergs Glasbruk & Rolf Söderdal, post 1992.
Circular glass top with sandblasted and white-painted decoration, three-legged iron stand, signed, dated, and numbered ART Against AIDS 1992 2/12 JONAS BOHLIN
Pukebergs Glasbruk Smide Rolf Söderdal. Height 75 cm, diameter 52 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890 (d)
The epitome of a Swedish design classic is arguably Jonas Bohlin’s armchair “Concrete”. As part of the designer’s thesis project “Labyrintformel” at Konstfack in 1981, the chair became the figurehead of the era’s liberation from the functional constraints that had characterized furniture design in the preceding decades. Many were captivated by Bohlin’s pioneering design, including Sven Lundh, then CEO of the furniture manufacturer Källemo. A collaboration was initiated, and the chair went into production in Värnamo.It was named “Concrete”, and the edition in concrete and iron was limited to 100 copies. A variant in wood and iron was also produced in an unlimited edition. Lundh’s idea of producing furniture in limited editions was a way to blur the boundaries between art and utility objects. “Concrete” subsequently received the “Excellent Swedish Design” award from Svensk Form in 1983. The version up for auction, entirely made of iron, known as “Iron Concrete”, was developed in 1987 in a limited edition of 15+2 HC copies. The chair at hand was Jonas Bohlin’s personal copy, subsequently exhibited and sold at the Hommage à Jonas Bohlin auction in Stockholm in 2003. This auction was initiated by Bohlin’s closure of his architectural firm at Slussen, leading him to sell off all prototypes and personal copies
49. Jonas Bohlin, a “Concav” chaise longue, Källemo, Värnamo ca. 1985.52. Carl Johan De Geer (Sweden, 1938–) a carpet, “Monster Subtil”, hand tufted, c 297 x 199 cm, signed and numbered 1/25. Made in New Zealand wool. The original pattern was designed by Carl Johan De Geer in 1986.
Carl Johan De Geer, the visionary artist and author, seized his daughter’s plastic toys in a burst of inspiration. With a mix of creative joy and a dose of eccentricity, he began to arrange and combine these small figures to draw a world of surreal patterns.
The toys, with their colourful surfaces and enticing shapes, became the building blocks for Carl Johan De Geer’s artistic creation. He crafted a lively dance among the various plastic creatures, liberated by their inherent playfulness. With each movement and every arranged position, a new monster emerged - a monster that was a tribute to the absurd and the grotesque.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
53. John Kandell (Sweden, 1925–1991) a unique cabinet, “Hortensiaskåpet” (The Hydrangea Cabinet), his own workshop 1984. Frame in painted pine with painted details, the front with two cabinets, signed Hortensiaskåpet JK Stockholm–84, height 88 cm, width 33 cm.
Provenance: Purchased directly from John Kandell in 1984.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
54. John Kandell (Sweden, 1925–1991) a wall cabinet, a version of “Arkitektskåpet”, ed. 18/20, Källemo, Värnamo post 1989.
White stained pine, door lock painted in purple, marked 18/29 and monogram signed JK. Total height 55 cm, width 15 cm, total depth 21 cm.
Provenance: The edition of the white-glazed cabinets, limited to 20 pieces, was produced for an art association in Jönköping in the late 1980s. Sven Lund requested John Kandell to create the unique color scheme, and Källemo manufactured the cabinets.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 710 (d)
56. John Kandell (Sweden, 1925–1991) a set of six “Solitär” chairs, Källemo, Värnamo post 1985.
Base in mahogany, leather seats. Seat height 46 cm, height 90 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
55. John Kandell (Sweden, 1925–1991) a set of six “Solitär” chairs, Källemo, Värnamo post 1985.
Base in mahogany, leather seats. Seat height 46 cm, height 90 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
57. Eero Saarinen (Finland, 1910–1961) a “Tulip” table, Knoll. Black lacquered aluminum base, Nero Marquina marble top, marked KnollStudio Eero Saarinen 1957. Height 72 cm, diameter 137 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530
58. Charles & Ray Eames (USA) a set of six chairs model “EA101”, Vitra, 2018.
Frame of chrome plated metal with black leather upholstery, maker’s mark Vitra. Seat height 46 cm, height 85 cm.
Original labels included.
Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 300
59. Charles & Ray Eames (USA) a “Lounge Chair & Ottoman”, Vitra, ca. 2006.
Frame in plywood veneered in cherry, cushions upholstered in black leather, legs in black and brushed metal, marked Vitra.
Height approximately 84 cm, seat height approximately 42 cm.
Certificate included.
Estimate: SEK 40 000 – 50 000 / EUR 3 530 – 4 420
60. Curtis Jeré (USA, 1963–) a “Raindrop” wall mirror, Artisan House, USA, probably 1960s–1970s.
Circular mirror with a frame of different sized and patinated metal “raindrops” each on a shaft. Mirror diameter 50 cm, including frame approximately 82 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890
138. Nick Ross, a unique “Little White Lies” coffee table, own studio, Stockholm 2018.
122. Carl Richard Söderström, a sculpture/urn, own studio, Stockholm ca. 2010
394. Sheila Hicks, “Quipo 14B”. 63. Lindsey Adelman, an “Agnes Chandelier 20” ceiling lamp, Roll and Hill, USA, post 2010.
62. Philip & Kelvin LaVerne, detail from a “Chang Boucher” coffee table, USA 1960s–70s
61. Vladimir Kagan (USA, 1927–2016) a “Serpentine” sofa with ottoman, New York Collection (Club House Italia), Italy post 1999.
Sculptural form, chrome plated base, upholstered in velvet, ottoman label marked KAGAN NEW YORK COLLECTION. Sofa length 280 cm, depth 110 cm, height 70 cm. Ottoman diameter 130 cm.
Literature: Vladimir Kagan, “Vladimir Kagan: A Lifetime of Avant-Garde Design”, Pointed Leaf Press 2022, p. 162.
Estimate: SEK 75 000 – 100 000 / EUR 6 620 – 8 830
63. Lindsey Adelman (USA, 1968–) an “Agnes Chandelier 20” ceiling lamp, Roll and Hill, USA, post 2010.
Base in bronze, 20 LED light sockets with cylindrical shades in white glass, fixture height ca 85 cm, adjustable total height ca 120–200 cm, width ca 151 cm, depth ca 127 cm. Extension rod included, ca 250 cm.
Estimate: SEK 75 000 – 100 000 / EUR 6 620 – 8 830
62. Philip & Kelvin LaVerne (USA) a “Chang Boucher” coffee table, USA 1960s–70s.
Oval shaped top in patinated bronze and pewter with handpainted enamels by Philip and Kelvin LaVerne, legs in bronze, maker's mark Philip LaVerne Works of Art New York Chan Boucher. Height 42 cm, length 153 cm, width 80 cm.
Literature: From the Collection of Heidi Boyce Broström (1943–2022) and Dan Axel Broström (1915–1976). Dan Axel Broström was the thirdgeneration ship-owner in the prestigious Broström Company group. When he took over the firm in 1949 they had 18 000 employees. The Canadian model and geologist Heidi was Dan-Axel Broström´s third wife, the couple lived at the fashionable Särö, a few miles south of Gothenburg. Purchased from Studio LaVerne, New York, for their home in the USA.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
64. Vladimir Kagan (USA, 1927–2016) a “Cloud” sofa/daybed, Weiman, USA, 1980s–90s.
Organic shape, fully upholstered, upholstered, maker's mark Weiman.
Height 62 cm, length 235 cm, depth 105 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210
65. Lindsey Adelman (USA, 1968–) an “Agnes Chandelier 6” ceiling lamp, Roll and Hill, USA, post 2010.
Base in bronze, 6 light sockets with cylindrical shades in white glass, the height of the fixture ca 64 cm, total height ca 160 cm, width ca 84 cm, depth ca 48 cm.
Extension rod included 115 cm.
Estimate: SEK 35 000 – 40 000 / EUR 3 090 – 3 530
66. Philip & Kelvin LaVerne (USA) an “Odyssey” coffee table, USA 1960s–70s.
Round top in patinated bronze and pewter with hand-painted enamels by Philip and Kelvin LaVerne, central foot in bronze, signed Kelvin Philip LaVerne. Diameter 120, height 41 cm.
Provenance: From the Collection of Heidi Boyce Broström (1943–2022) and Dan Axel Broström (1915–1976). Dan Axel Broström was the third-generation ship-owner in the prestigious Broström Company group. When he took over the firm in 1949 they had 18 000 employees. The Canadian model and geologist Heidi was Dan-Axel Broström´s third wife, the couple lived at the fashionable Särö, a few miles south of Gothenburg. Purchased from Studio LaVerne, New York, for their home in the USA.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210
67. Warren Platner, two chairs from a set of six “Platner Side Chairs” , Knoll International, post 1966.
68. Olivier Mourgue (France, 1939–) a “Djinn” chaise longue, Airborne, France 1960s.
Frame in steel tubing and polyether foam, upholstered in a striped soft textile. Length 172 cm, width 60 cm, height 65 cm.
Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330
67. Warren Platner (USA, 1919–2006) a set of six “Platner Side Chair” chairs, Knoll International, post 1966.
Base in bronze-patinated steel, seat and back upholstered in a grey velvet fabric, maker's mark Knoll, seat height 50 cm, height 75 cm.
Estimate: SEK 100 000 – 150 000 / EUR 8 830 – 13 240
69. Jan Bocan (Czech Republic, 1937–2010) a pair of easy chairs, Thonet, executed for the Czechoslovakian Embassy, Stockholm 1972.
Base in laminated walnut, seat and back upholstered in purple woolen original fabric. Height 75 cm.
Provenance: The Czechoslovakian Embassy, Stockholm. Jan Bocan was a professor at the Technical University in Prague. At the age of thirty, he won the architectural competition for the new Czechoslovak Embassy in Stockholm. This was his first major assignment. The embassy was a total work of art with all interiors, textiles and furniture designed by Bocan. It was designed and built between 1968–70 and opened in 1972.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210
70. Gerard van den Berg (Netherlands, 1947–) a “Gigi” armchair with footstool, Label Produkties, Netherlands post 1998.
Central base of chrome plated steel, upholstered in blue kangaroo leather, labelled gerard v. d. berg. Armchair length 108 cm, depth 85 cm, height 69 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890
71. Andrew & Sarah Hills (Great Britain) a “Duck Feet Lamp”, Porta Romana, United Kingdom 2000s.
Cast metal with gilded “Decayed Gold” finish, shade in natural linen marked on the inside PORTA ROMANA. Height 84 cm.
Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330
72. Gareth Devonald Smith (Great Britain, 1956–) a “Lollipop Chandelier” ceiling lamp, Porta Romana, United Kingdom, post 2009.
Frame in gilded and patinated steel and copper, 8 light sources with shades in varying textiles, marked Porta Romana MCL20L. Height ca 120 cm, total height ca 300 cm, diameter ca 100 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
75. Philippe Starck, a “Dr Sonderbar” armchair, XO, France, post 1993.
74. Charlotte Perriand (France, 1903–1999) an “Accordo Low Table”, Cassina, Italy post 1985. Wooden base, the top with bevelled edges, lacquered in a high-gloss grey/brown hue, legs lacquered in black. Height 30 cm, top dimensions 140 x 125 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
73. Pierre Paulin (France, 1927–2009) a “Pumpkin” easy chair, Ligne Roset, France post 1971.
Upholstered in a pink wool fabric, maker's mark Design Pierre Paulin Ligne Roset Made In France. Seat height 35 cm, height 70 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890
75. Philippe Starck (France, 1949–) a “Dr Sonderbar” armchair, XO, France, post 1993.
Base of chrome plated steel with perforated seat. Seat height 39 cm, width 90 cm, height 63 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890
76. Virgil Abloh (USA, 1980–2021) a “Wet Grass” carpet, Ikea, ca 199 x 136 cm.
From the collection “Markerad”, which was a collaboration between Virgil Abloh and Ikea in 2019.
Estimate: SEK 4 000 – 6 000 / EUR 360 – 530
77. Alexis Verstraeten & Pauline Montironi (Belgium) a “Miss Flamingo” armchair, ed. 14/30, AP Collection, Belgium 2017.
Chrome-plated steel base designed by Pierre Paulin, upholstered with white Icelandic sheepskin and pink plush flamingos, labeled AP COLLECTION. Height ca 110 cm, seat height ca 45 cm. A certificate of authenticity is included with this lot.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830
78. William Brand & Annet van Egmond (Netherlands) a “Hollywood” table lamp, Brand van Egmond, Netherlands 2000s.
Chrome plated metal, in the shape of an abstract tree. Height ca. 73 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890
77. Alexis Verstraeten & Pauline Montironi, a “Miss Flamingo” armchair, AP Collection, Belgium 2017. 51. Jonas Bohlin , an “Art Against Aids” table, post 1992. 397. Alimi Adewale, Untitled. 84. Robin Wood (Björn Ahlberg), a bookshelf, Sweden 1990s. 134. Luca Nichetto, a “Fusa 45” table lamp, Firma Svenskt Tenn, post 2019. 30. Jonas Als, a unique sculpture, “Crossgrain”, Copenhagen, 2020. 286. Mamma Andersson, “All They Had To Do Was Dream”. 110. Eva Hild, a unique “Bulig” stoneware sculpture, Sparsör 2002. 1. Guido Drocco & Franco Mello , a “Cactus” coat hanger/sculpture, Gufram, Italy, 1986.
79. Herzog & de Meuron (Switzerland) a “Hocker” stool, Vitra, Germany post 2005.
White-stained birch, labeled Design Herzog & de Meuron Vitra. Height 42 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890
80. Petra Benndorf (Germany, 1967–) a porcelain “Objekt Gemustert” sculpture, Germany 2017. Organic shape, signed PB 2017. Diameter 18 cm, height 10 cm.
Provenance: The sculpture was one of the prizes in the Handelsbanken's art association lottery.
Estimate: SEK 3 000 – 4 000 / EUR 270 – 360 (d)
81. Sebastian Herkner (Germany, 1981–) a “Bell Side Table”, ClassiCon, Germany, post 2012.
Base in blown glass, top in black lacquered crystal glass, brass around the edge, maker's mark, diameter 74.5 cm, height 36 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
82. Tom Dixon (Great Britain, 1959–) a table lamp, “The Spiral Lamp”, London, 1990s.
Gilded metal, halogen lamp in the base, height ca 62 cm.
Provenance: Purchased through London W8, 1996.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890
83. Tom Dixon (Great Britain, 1959–) a “Wingback Chair”, George Smith for Tom Dixon, United Kingdom pre 2015.
Fully upholstered with a high back, spring seat, black lacquered oak legs, labelled George Smith LTD. Height 127 cm, seat height 42 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890
84. Robin Wood (Björn Ahlberg) (Sweden, 1966–) a bookshelf, Sweden 1990s.
Riveted aluminum sheet, marked on the frame twice ROBIN WOOD. Length 120 cm, depth 27.5 cm, height 234 cm (standing) or alternatively length 234 cm, depth 27.5 cm, height 120 cm (lying).
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
66. Philip & Kelvin LaVerne, an “Odyssey” coffee table, USA 1960s–70s.
408. David Hockney, “Flowers for a Wedding”.
86. Mats Theselius, “Canapé”, Källemo, Värnamo 1994.
86. Mats Theselius (Sweden, 1956–) a “Canapé”, ed. 2/35, Källemo, Värnamo 1994.
Lamborghini white lacquer, white leather upholstery, walnut frame, maker's mark Källemo 1994 2/35. Length ca 130 cm, height 75 cm, seat height 46 cm.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
85. Mats Theselius (Sweden, 1956–) a “Kroko” armchair, ed. 23/99, Källemo, Värnamo post 1990.
Aluminum-clad wooden armrest, frame of laminated black lacquered beech, seat and back upholstered in crocodile embossed leather, aluminum legs, plate marked with numbering
ALUMINIUMFÅTÖLJEN Mats Theselius KROKO No. 23/99
KÄLLEMO SWEDEN. Height 73.5 cm, seat height 47 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
87. Mats Theselius (Sweden, 1956–) an armchair, variant of “Järn/Moccafåtöljen”, custom made, Källemo, Värnamo post 1994.
Wooden frame covered with etched iron sheet, stained beech armrest, seat and back upholstered in dark brown Tärnsjö leather instead of the ordinary dark brown suede, iron legs, height 73 cm.
Estimate: SEK 60 000 – 70 000 / EUR 5 300 – 6 180 (d)
88. Rolf Hanson (Sweden, 1953–) a “Pelare” cabinet, ed. 64/90, Källemo, Värnamo post 1991.
Brown stained alder on a granite base, decorated with painted spots, two doors with green patinated bronze handles, four shelves, signed Rolf Hanson Källemo and numbered 64, height 209 cm, width ca. 48 cm, depth ca. 43 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
89. Mats Theselius (Sweden, 1956–) a “The Ritz” armchair, ed. 3/90, Källemo, Värnamo post 1994.
Black lacquered steel frame, black-stained armrests with inlays of elk horn, rear legs with wheels, upholstered in black leather, metal labeled and numbered THE RITZ Mats Theselius 1994 No 3/90 KÄLLEMO AB VÄRNAMO SWEDEN. Height 87 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
90. Bjørn Nørgaard (Denmark, 1947–) a “Stolskulptur” (Sculptural Chair), ed. 1/19, Källemo, Värnamo post 1995. Laminated seat in various types of wood; elm, ash, mahogany, beech, oak, and alder, back in welded steel plate, signed BN 1/19 K. Height 129 cm, seat height 49 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
92. Mats Theselius, an “El Rey” armchair, ed. 275/360, Källemo, Värnamo post 1999.
91. Caroline Schlyter (Sweden, 1961–) a “Little m” children's chair, Forsnäs Form 1990s.
Molded plywood of birch, lacquered in black, signed Caroline Schlyter. Height 58 cm.
Estimate: SEK 4 000 – 6 000 / EUR 360 – 530
92. Mats Theselius (Sweden, 1956–) an “El Rey” armchair, ed. 275/360, Källemo, Värnamo post 1999.
Solid brass, wooden seat covered with crocodile embossed Tärnsjö leather, signed and numbered el Rey by Mats Theselius 1999 No: 275/360 copies for Källemo, Sweden. Height 70.5 cm.
Estimate: SEK 75 000 – 100 000 / EUR 6 620 – 8 830 (d)
93. Mats Theselius (Sweden, 1956–) an “El Rey” armchair, ed. 303/360, Källemo, Värnamo post 1999.
Solid brass, wooden seat covered with crocodile embossed Tärnsjö leather, signed and numbered el Rey by Mats Theselius 1999 No: 303/360 copies for Källemo, Sweden. Height 70.5 cm.
Estimate: SEK 75 000 – 100 000 / EUR 6 620 – 8 830 (d)
94. Mats Theselius (Sweden, 1956–) a “Sheriff” desk chair, Källemo, Värnamo post 2004.
Chrome stand, upholstered in black vegetable-tanned leather from Tärnsjö, swiveling and height-adjustable. Seat height ca. 42–52 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330
95. Marie-Louise Ekman (Sweden, 1944–) a carpet, “Nr. 7”, tufted, ca. 148 x 120 cm, Hitex for Källemo.
Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 060 (d)
96. Mats Theselius (Sweden, 1956–) a “National Geographic” cabinet, Källemo, Värnamo post 1990.
Wood, lacquered in National Geographic yellow, glass doors, base in beech wood, brass details, maker's mark Mats Theselius 1990 Produced by Källemo AB Sweden. Height 171 cm, width 57.5 cm, depth 22 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210
92. Mats Theselius, an “El Rey” armchair, Källemo, Värnamo post 1999.
50. Jonas Bohlin, a rare “Iron Concrete” armchair, Källemo, Värnamo 1987.
100. Mats Theselius, a “Järn/Moccafåtöljen” armchair, Källemo, Värnamo post 1994.
97. Mats Theselius (Sweden, 1956–) a pair of “Bruno” easy chairs,, ed. 16/49 & 40/49, Källemo, Värnamo 1997.
Base in nickel-plated metal, seat in oxblood coloured leather, marked and signed Mats Theselius Bruno 16/49 & 40/49 1997.
Seat height 40 cm, height 71 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
99. Mats Theselius (Sweden, 1956–) a “Birdland” easy chair, ed. 32/360, Källemo, Värnamo post 2009.
Base covered in birch, legs and details in chrome-plated steel, armrests in Corian, seat covered in Tärnsjö leather, maker's mark Birdland Design Mats Theselius Ser. No. 32/360 Källemo Sweden 2009. Seat height 38 cm, height 70 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
98. Mats Theselius (Sweden, 1956–) a “Birdland” easy chair, ed. 87/360, Källemo, Värnamo post 2009.
Seat covered in polished steel, legs and details in chrome-plated steel, armrests in Corian, seat covered in oxblood-colored Tärnsjö leather, maker's mark Birdland Design Mats Theselius Ser. No. 87/360 Källemo Sweden 2009. Seat height 38 cm, height 70 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
100. Mats Theselius (Sweden, 1956–) a “Järn/Moccafåtöljen” armchair, ed. 191/360, Källemo, Värnamo post 1994.
Wooden frame covered with etched iron sheet, stained beech armrest, seat and back upholstered in dark brown suede, iron legs, labeled with metal tag JÄRN/ MOCCA FÅTÖLJEN Mats Theselius No 191/360 KÄLLEMO AB VÄRNAMO SWEDEN. Height 73.5 cm.
Literature: Dan Gordan, “Svenska stolar och deras formgivare”, Norstedts 2014, p. 304.
Estimate: SEK 40 000 – 50 000 / EUR 3 530 – 4 420 (d)
101. Mats Theselius (Sweden, 1956–) a “Järn/Moccafåtöljen” armchair, ed. 280/360, Källemo, Värnamo post 1994. Wooden frame covered with etched iron sheet, stained beech armrest, seat and back upholstered in dark brown suede, iron legs, labeled with metal tag JÄRN/MOCCA FÅTÖLJEN Mats Theselius No 280/360 KÄLLEMO AB VÄRNAMO SWEDEN. Height 73 cm.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
102. Fredrik Wretman (Sweden, 1953–) a ceiling lamp, “Sven Lundhs Öga”, ed. 50, Källemo, Värnamo post 1998. Shade in white opal glass with iris, chrome-plated pendant made by Konsthantverk Tyringe. Shade height 35 cm, adjustable total height 70–150 cm.
Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330 (d)
112. Sigurdur Gustafsson, a “Time” cabinet, Källemo, post 2001.
133.
David Taylor, a unique ‘Aluminium Chair’, Sweden 2021. 105. Mats Theselius, a ‘Rörligt objekt’ room divider, Källemo, Värnamo post 1989. 215. Richard Misrach, ‘Palm #3’, 1975. 170. Lennart Olson, ‘Rött ljus’, 1970.103. Mats Theselius (Sweden, 1956–) a “Hype” chair, ed. 30/99, Källemo, Värnamo post 1990.
Lightly painted wood, signed and numbered STOLEN MATS
THESELIUS KÄLLEMO 30/99. Height 78 cm, seat height 46.5 cm.
Estimate: SEK 4 000 – 5 000 / EUR 360 – 450 (d)
105. Ernst Billgren & Mats Theselius (Sweden) a “Tronen” chair/sculpture, ed. 41/100, Källemo, Värnamo post 1991.
Cast iron, partially enameled and set with mosaic, upholstered in elk leather, signed and numbered EB/MT 41/100. Length 34 cm, width 24 cm, height 36.5 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
104. Mats Theselius (Sweden, 1956–) a “Rörligt objekt” room divider, ed. 28/100, Källemo, Värnamo post 1989.
Copper plate with dot decoration in relief, foldable into four sections, signed and numbered MT 28/100. Length 4 x 48 cm, height 188 cm.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
106. Ernst Billgren (Sweden, 1957–) “Ermina”, a glass sculpture, Berengo Studio, Murano, Italy 1999, ed. 17/29.
Green, red, white, and yellow glass, signed E. BILLGREN 17/29.
Height 26 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
107. Ernst Billgren (Sweden, 1957–) “And i vas” (Duck in vase), a glass sculpture, ed. 29/30, Kosta Boda, Sweden.
Glass, signed 7428003 Kosta Boda Limited 29/30 Ernst Billgren. Height 29,5 cm, diameter 19,7 cm, in original box, 38 x 28,5 cm, height 31 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
107A. Ernst Billgren (Sweden, 1957–) a glass object, “Duck in glass”, Kosta Boda, Sweden, lim. ed. 20/30, in original box.
Oval bowl on ball feet with mallard, signed 7328002 Kosta Boda Lim. ed. 20/30
Ernst Billgren and labelled. Height 23 cm, ca. 30.5 x 27 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
108. Ernst Billgren (Sweden, 1957–) “Snöripa i lä” (Grouse in shelter), a glass sculpture, ed. 3/30, Kosta Boda, Sweden.
Glass, signed 7428001 Kosta Boda Lim. ed. 3/30 Ernst Billgren, ca 31.5 x 28.5 cm, height 23 cm, in original oak box with placque, 40 x 36 cm, height 33.5 cm.
Estimate: SEK 30 000 – 35 000 / EUR 2 650 – 3 090 (d)
Bowl with three birds on branches, signed 7429001 KOSTA BODA LIM.
ED. 9/30 ERNST BILLGREN. Height 21 cm, diameter 32.5 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
108A. Ernst Billgren (Sweden, 1957–) a glass object, “Birds”, Kosta Boda, Sweden, lim. ed. 9/30, in original box.
109. Ernst Billgren (Sweden, 1957–) a “Tjyvar” bench, ed. 18/51, Asp Snickeri, Stockholm 2006.
Frame in oak decorated with mosaic squares, metal label with signature and numbered Ernst Billgren 18/51. Length 100 cm, width 40 cm, height 44 cm.
Provenance: Galleri Lars Bohman, Stockholm, “Tjyvar,” September 2–October 1, 2006, the model was designed for this exhibition, executed in a limited edition of 51 numbered copies.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
110. Eva Hild (Sweden, 1966–) a unique “Bulig” stoneware sculpture, Sparsör 2002.
Glazed in shades of red with some beige, signed in silver color EVA HILD 02. Length 30 cm, height approximately 13.5 cm.
Provenance: Gallery Bacchus, Borås, October 2002.
Estimate: SEK 15 000 – 18 000 / EUR 1 330 – 1 590 (d)
111. Hans Ahnlund (Sweden, 1946–) a unique sculpture, “Rombikosidodekaeder”, own studio, Gnesta, 2005.
The shape is a so-called Archimedean form, solid sculpted in Laburnum (the squares), Padauk (the triangles), and sea-soaked Birch (the pentagons). Signed HA 05, height ca. 20,5 cm.
Provenance: Konsthantverkarna, Stockholm.
Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 060 (d)
112. Sigurdur Gustafsson (Iceland, 1962–) a “Time” cabinet, limited edition, Källemo, post 2001.
Base in ash on casters, front in corrugated and patinated sheet metal with wall clock in brass and patinated brass, handle in black leather, shelves of sheet iron, height 196 cm, width 53 cm, depth 34 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
113. Sigurdur Gustafsson (Iceland, 1962–) a “Copy and Paste” chair, ed. 97/99, Källemo, Värnamo post 2007.
Oak, red, black, white and natural with poly carbonate plates, marked with label Sigurdur Gustafsson 2007 Copy and Paste no 97/99 Källemo AB
Sweden, height 85 cm, seat height 45 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
114. Sigurdur Gustafsson (Iceland, 1962–) a “Copy and Paste” chair, ed. 98/99, Källemo, Värnamo post 2007.
Oak, red, black, white and natural with poly carbonate plates, marked with label Sigurdur Gustafsson 2007 Copy and Paste no 98/99 Källemo AB
Sweden, height 85 cm, seat height 45 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
115. Sigurdur Gustafsson (Iceland, 1962–) a “Wind” easy chair/ sculpture,, ed. 17/33, Källemo, Sweden, post 2003.
Patinated metal, seat made of a patinated metal net, maker's mark 'Wind by Sigurdur Gustavsson 2003 no 17/33 Källemo Ab Sweden', height 67 cm, width 67 cm, length 67 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
116. Mats Theselius (Sweden, 1956–) a “National Geographic, 25th Anniversary edition” cabinet, ed. 34/220, Källemo, Värnamo, post 2015.
Covered in a linen textile with a printed leaf pattern, base in brass with two drawers, maker's mark National Geographic, 25th Anniversary edition, ed. 34/220, Källemo, height 170 cm, width 58 cm, depth 29 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 300 (d)
117. Mats Theselius (Sweden, 1956–) a pair of “Skepparpallen” stools, ed. 359 & 360/360, Källemo, Värnamo, post 2001.
White lacquered with engraved brass bands, marked with numbering No: 359/360 and No: 360/360, respectively, as well as personalized engravings according to the orginal customer's wishes. Height 61 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
118. Mats Theselius (Sweden, 1956–) an “Inox” armchair, ed. 165/199, Källemo, Värnamo post 2015.
Polished stainless steel, armrests of white-soaped oak, upholstery of white nubuck leather, plate marked with numbering Aluminium Chair 25th Anniversary INOX no 165/199 Mats
Theselius Produced by Källemo Sweden 2015. Height 72.5 cm, seat height 45 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
119. Johanna Jansson (Sweden, 1977–) a unique glass sculpture “Bored of it all. Beam me up. Jaded”, Liam Reeves & Anthony Harris, RCA, London 2007.
From the series “Graffiti Silver Birches”, cut overlay in black against white, signed Johanna Jansson Unique 2007. Height 60.8 cm.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 710 (d)
120. Johanna Jansson (Sweden, 1977–) a unique glass sculpture, “My precious. Who dares wins”, Liam Reeves & Anthony Harris, RCA, London 2007.
From the series “Graffiti Silver Birches”, cut overlay in black against white, signed Johanna Jansson Unique. Height 62 cm.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 710 (d)
121. Johanna Jansson (Sweden, 1977–) a unique glass sculpture “Crises what crises?”, Liam Reeves & Anthony Harris, RCA, London 2009.
From the series “Graffiti Silverbirches”, cut overlay in white against black, signed Johanna Jansson Unique 2009. Height 64.5 cm.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 710 (d)
122.
White glazed stoneware, two parts, a jar on a pedestal with decoration of roses and mascarons. Signed CR Söderström. Total height 55 cm.
Estimate: SEK 4 000 – 6 000 / EUR 360 – 530 (d)
Aluminum-clad wooden frame, armrest of laminated black lacquered beech, seat and back upholstered in cowhide, legs of aluminum, labeled.
Height 73.5 cm, seat height 47 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 300
Carl Richard Söderström (Sweden, 1960–) a sculpture/urn, own studio, Stockholm ca. 2010. 123. Mats Theselius (Sweden, 1956–) a pair of “Aluminiumfåtölj” armchairs, Källemo, Värnamo.
125. Claesson Koivisto Rune, a carpet, “Forell, vinterstorm”, flat weave, ca 722 x 309 cm, signed AB MMF MC EK OR.
124. Alexander H Damsbo & Henrik Ingemann Nielsen (Denmark) a “HC-Andersen Chair” armchair/table, ed. 3/49, Källemo, post 2005.
Foldable, base in black lacquered wood, seat in black velvet, bronze legs, a book embedded in one armrest “Att Skriva en Kaerlighedshandling”–En
Udstilling om H.C. Andersens eröbring af skriften–Københamn–Paris–
Alexandria, makers mark H.C. Andersen 2005 No. 3/49 Källemo Sweden, height as armchair 113, seat height 45 cm, height as table 60 cm, top dimensions 78 x 62 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 530 – 4 420 (d)
125. Claesson Koivisto Rune (Sweden) a carpet, “Forell, vinterstorm”, flat weave, ca 722 x 309 cm, signed AB MMF MC EK OR.
(AB Märta Måås-Fjetterström, Claesson Koivisto Rune.) Designed in 2006.
Estimate: SEK 70 000 – 90 000 / EUR 6 180 – 7 950
126. Per B. Sundberg (Sweden, 1964–) a ceramic sculpture, executed in his own studio, Sweden 2009.
Chinese boy and two glazed ceramic vases, signed Per B Sundberg–09 and impressed SUNDBERG, height 19.3 cm.
Estimate: SEK 15 000 – 18 000 / EUR 1 330 – 1 590 (d)
128. Mats Theselius (Sweden, 1956–) a set of six custom ordered “Aluminiumfåtölj”, Källemo, Värnamo ca. 1990.
Wooden frame covered with etched iron sheet, armrests in beech, seat and back in Tärnsjö leather, seat height 47 cm, height 74 cm.
Provenance: Commissioned by Laurent Leksell for the Elekta headquarters, Birger Jarlsgatan 53, Stockholm in the early 1990s.
Estimate: SEK 100 000 – 125 000 / EUR 8 830 – 11 040
127. Jonas Bohlin (Sweden, 1953–) an “À Table” table, Svenskt Tenn, Sweden post 2014.
Top in oiled ash on legs of powder-coated iron with details of Tärnsjö leather, brass, and stainless steel, plate labeled SVENSKT
TENN. Length 180 cm, width 100 cm, height 74 cm, two extension leaves 55 cm each included (total length 290 cm).
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
129. Giopato & Coombes (Great Britain) a “Bolle 14” ceiling lamp, Kalmar Werkstätten, for Svenskt Tenn, 2015.
Three LED light fixture with brass arms, 14 glass globes as shades, ceiling mount in white lacquered metal, maker's mark Giopato-Coombes, the largest globe's diameter approximately 30 cm. Adjustable height, ca. 120–320 cm.
Provenance: Acquired at Firma Svenskt Tenn.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
131. Hanna Hansdotter, a glass sculpture, “Tiffany print”, The Glass Factory, Boda Glasbruk, 2019.
130. Magniberg (Sweden) a “Horse” armchair, AB Eriksson & Söner, Vrena, Sweden post 2016.
White-stained pine, loose cushion in pink textile, marked MAGNIBERG AB
Eriksson & Söner Vrena, height 80 cm, seat height ca 44 cm, width 85 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330
131. Hanna Hansdotter (Sweden, 1984–) a glass sculpture, “Tiffany print”, ed. AP 2/2, The Glass Factory, Boda Glasbruk, 2019.
Mould blown and silvered glass, color: Pink Celadon Metallic.
Signed Hanna Hansdotter AP2 2019, height ca 52 cm.
Glassblowers Björn Friborg + Mikael Jacobsson.
Estimate: SEK 35 000 – 40 000 / EUR 3 090 – 3 530 (d)
132. Jenny Nordberg (Sweden, 1978–) a mirror, “3 to 5 seconds”, unique from an edition of 1/5, her own studio 2018.
Silver-plated and white painted glass, 150 x 150 cm. Certificate included.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
133. David Taylor (Sweden, 1966–) a unique “Aluminium Chair”, executed in his own studio, Sweden 2021.
Heated and bent aluminium profiles, seat height 41 cm, height 77 cm.
Exhibitions: Berg Gallery, “New York”, Stockholm, 2022.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210
134. Luca Nichetto (Italy, 1976–) a “Fusa 45” table lamp, Firma Svenskt Tenn, post 2019. Polychrome glass, brass base and dimmer plate, LED bulb mounted in the frame, maker's mark Luca Nichetto SVENSKT TENN, the glass with maker's mark NasonMoretti Murano.
Height 50 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
135. India Mahdavi (Iran, 1962–) an oak and ceramic dinner table, designed for a project at Svenskt Tenn, Sweden in 2022.
Veneered oak top in an organic shape, base in off-white glazed ceramic. Length 300 cm, width 115 cm, height 71 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 300
133. David Taylor, a unique “Aluminium Chair”, executed in his own studio, Sweden 2021.
138. Nick Ross, a unique “Little White Lies” coffee table, own studio, Stockholm 2018.
136. Navet (Sweden) a set of six “Navet” chairs, Stockholm 2019.
Beech, round seat. Height 77 cm, seat height 44 cm.
Exhibitions: “Navet Sketches”, Stockholm 2020.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530
137. Navet (Sweden) a unique sofa, “A Sofa”, Stockholm 2019. Fully padded frame, upholstered in yellow Kvadrat Remix textile, seat height 45 cm, height 71 cm, length 180 cm, depth 55 cm.
Exhibitions: “Navet Sketches”, Stockholm 2020.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
138. Nick Ross (Sweden, 1986–) a unique “Little White Lies” coffee table, own studio, Stockholm 2018. Bardiglio marble, semi-transparent lilac-toned lacquer, signed Nick Ross 2018. Diameter 60 cm, height 35 cm.
Provenance: Chart Art Fair, Copenhagen 2018.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530
139. Withdawn.
140. NM3 (Italy) a unique sideboard/serving cart, “NMMA”, Milano, Italy 2020.
Base in “Inox BA” stainless steel, top in red “Rosso Francia” marble, height 68 cm, width 103 cm.
Exhibitions: Exhibited in year 2022 at NM3 exhibition at at Flash Art magazine HQ curated by Flash Art.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
141. Per Söderberg (Sweden, 1968–) a bench, first edition, “NEB bench”, No Early Birds, 2011.
Perforated pine seat, legs in black lacquered steel that can be positioned in various ways, brass nuts. Length 237, width 40, height 46 cm.
Provenance: Executed in two copies for Minimarket's office space.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 710
142. Per Söderberg (Sweden, 1968–) a custom-ordered writing bureau, “NEB Bureau”, No early Birds, 2021.
Creme white lacquered metal legs, white lacquered rectangular cabinet with a flap covered in brass, interior with various compartments, details of brass, back panel of white lacquered perforated sheet, Maker's metal plaque: Per Söderberg, No Early Birds. Width 122 cm, depth 40 cm, height 108 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
143. Per Söderberg (Sweden, 1968–) a unique table, “PS Bespoke Cube”, No Early Birds, 2021.
Reversible base in Calacatta marble, metal rods, glass top, maker's mark Per Söderberg No Early Birds. Diameter 100 cm, height 73 cm, or 41 cm.
Exhibitions: The piece of furniture was introduced in conjunction with No Early Birds' 10-year anniversary and was exhibited at Jacksons Design at Sibyllegatan during Stockholm Design Week 2020. This version in Calacatta marble is available in only 1 example and was produced in 2021.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
144. Erik Bratsberg (Sweden, 1984–) a pair of wall lamps , “Dune”, his own studio, 2023.
Base in white lacquered MDF, shade in plexiglass covered in a beige textile from Astrid, wall brackets in bronzed metal with one light socket each, signed Erik Bratsberg “Dune” 2023, height 50 cm.
Provenance: The model was originally designed for Restaurant Persona and developed in this unique execution for the interior of Restaurant Gondolen in Stockholm.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330
145. Attila Suta, a chest of drawers, unique prototype, 2014.
145. Attila Suta (Sweden, 1976–) a chest of drawers, unique prototype, executed in his own workshop, 2014.
The front and sides with relief decoration, stained and blackened birch, height 80.5 cm, width 97.5 cm, depth 40.5 cm.
Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 060
146. Attila Suta (Sweden, 1976–) a pair of bedside tables, executed in his own workshop, Stockholm, 2022.
Base in black stained ash, the front with two drawers in wenge, brass fittings and details, maker's mark Attila Suta Royal Court Supplier.
Height 70 cm, width 45 cm, depth 40 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330
147. Vee Speers (Australia, 1962–) 'Untitled #35', 2009.
From the series 'The Birthday Party'. Signed and numbered 2/6 verso. Cibachrome mounted on plexi glass and framed, 124.5 x 100.5 cm including frame.
Provenance: Jackson Fine Art, Atlanta. Acquired in 2010 by the present owner.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
148. Maria Friberg (Sweden, 1966–) 'Past Lines #1', 2018. Signed Maria Friberg and numbered AP 1/2 verso. C-print mounted on aluminum and framed 81 x 63 cm including frame.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
149. Denise Grünstein (Finland, 1950–2023) 'Rubra', 2020–2021.
From the series 'Nympheas'. Signed Denise Grünstein and numbered 1/3 verso. C-print silicone mounted on glass 80 x 60 cm.
Provenance: CF Hill, Stockholm.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
Signed Anton Corbijn and numbered 5/20. Lithprint, image 46 x 45.5 cm.
Provenance: Torch, Amsterdam. Tres Hombres Art, Halmstad.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
151.
From the series 'Dalston Anatomy', 2013. Signed Lorenzo Vitturi and numbered 1/5 on label verso. Certificate accompanies the work. Giclee print mounted on board and framed 165 x 110 cm.
Provenance: Kahmann Gallery, Amsterdam.
Exhibitions: PhotoMarket, Fotografiska, Stockholm, Spring 2023.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
Signed Albert Watson and numbered 22/25 verso. C-print, image 60 x 47.5 cm. Sheet 76 x 60 cm.
Literature: James Crump, 'Albert Watson', 2007, illustrated on full-page.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
150. Anton Corbijn (Netherlands, 1955–) 'Depeche Mode, Milan, 1988'.
Lorenzo Vitturi (Italy, 1980–) ‘ Amount in € Green Stripes #1 ’ , 2013.
152. Albert Watson (Great Britain, 1942–) 'Naomi Campbell, Palm Springs, 1989'.
Nathalia Edenmont's motifs are carefully arranged and full of symbols: flowers, blood, fruits, animals and insects. All built on site in the studio (from real things), she does not use digital editing and shoots with an analogue Sinar 8x10 large format camera. Each artwork is immortalised in a single photo session. At a time when most of us are forced to view ourselves through digital channels, Edenmont's powerful, meticulously arranged analogue photographs act as a counterpoint to the fleeting portraits that permeate our everyday lives. She boldly and vulnerably portrays her life's traumas, childhood memories and dreams.
Many of her portraits have art historical references where the model takes on the role of a Madonna, mother or queen. Edenmont uses flowers and plants to symbolise the cycle of life, transience and female fertility, from freshly harvested, crisp tulips representing youth to wilted flowers and leaves representing ageing.
Nathalia Edenmont has had solo exhibitions at Dunkers Kulturhus, Helsingborg, Sven-Harrys konstmuseum in Stockholm, Wetterling Gallery Stockholm, Flint Institute of Arts, Michigan, Arkansas Art Center in Arkansas and White Space, Florida as well as Nancy Ho man Gallery, New York and the Swedish Institute in Paris. She is represented in numerous public and private collections, including the Moderna Museet, Stockholm, the Miami Art Museum, and the Moscow House of Photography Museum.
153. Nathalia Edenmont (Sweden, 1970–)
'A Moment Like This', 2018–2019.
Signed N Edenmont and dated 2018–2019, numbered 3/6, verso. C-print mounted on aluminum and framed, 160 x 177 cm including frame.
Provenance: Wetterling Gallery, Stockholm.
Estimate: SEK 140 000 – 160 000 / EUR 12 360 – 14 130 (d)
Nathalia Edenmont
Signed Terry O'Neill and numbered 13/50. Printed in 2015. A signed certificate from Iconic Images accompanies the work. Platinum palladium print, image 34 x 50 cm.
Provenance: The Photo Gallery, Halmstad.
Literature: Terry O'Neill, 'Terry O'Neill: The A-Z of Fame', 2013, illustrated on spread p. 284–285.
Estimate: SEK 100 000 – 125 000 / EUR 8 830 – 11 040 (d)
A certificate signed by Steve McCurry accompanies the work. Printed in 2017. Open edition, with serial number 0.0528. Digital C-print, image 52.5 x 35 cm.
Provenance: Steve McCurry Studios, New York. Private Collection, Sweden.
Literature: Steve McCurry, 'Portraits', 1999, illustrated on the cover. National Geographic Magazine, June 1985, illustrated on the cover.
Estimate: SEK 125 000 – 150 000 / EUR 11 040 – 13 240
154. Terry O'Neill (Great Britain, 1938–2019) 'Frank Sinatra, Miami Beach, 1968'.
155. Steve McCurry (USA, 1950–) 'Afghan Girl', 1984.
156. Maria Miesenberger (Sweden, 1965–)
'Utan titel (Immigranterna)', 1993.
From the series 'Sverige/Schweden'. Signed Maria Miesenberger and dated 1998, numbered 3/3 verso. C-print 99 x 110 cm including the artist's original frame.
Provenance: Galleri Lars Bohman, Stockholm.
Literature: Maria Miesenberger, 'Sverige/Schweden', 2011, illustrated on full-page as #088.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
157. Maria Miesenberger (Sweden, 1965–)
'Utan titel (Heimat)', 1993.
From the series 'Sverige/Schweden'. Signed Maria Miesenberger and numbered 2/5 verso. C-print, 90 x 84 cm including the artist's original frame.
Provenance: Galleri Lars Bohman, Stockholm.
Literature: Maria Miesenberger, 'Sverige/Schweden', 2011, illustrated on full-page as #045.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
158. Maria Friberg (Sweden, 1966–) 'Absolute Dream', 2015.
Signed Maria Friberg and numbered AP 1/3 verso. Total edition of 10 + 3 AP. C-print diasec mounted to aluminum and glass 41 x 70 cm.
Literature: Maria Friberg, 'Maria Friberg', 2015, compare image "Holding" p. 11.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530
159. Hans Gedda (Sweden, 1942–) 'Cornelis', 1977.
Signed Hans Gedda. Also signed HG and numbered 4/25 verso. The book 'Hans Gedda, The Third Eye', 2013, accompanies the work. Gelatin silver print, image 40 x 40 cm.
Estimate: SEK 30 000 – 35 000 / EUR 2 650 – 3 090 (d)
160. Hans Hammarskiöld (Sweden, 1925–2012) 'Covent Garden, London, 1955'.
Signed Hans Hammarskiöld and numbered 17/20 verso.
Printed in the 1970s. Gelatin silver print, image 38 x 27.8 cm.
Sheet 39 x 29.3 cm.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890 (d)
161. Hans Gedda (Sweden, 1942–) 'Den vite Clownen', 1978.
Signed Hans Gedda. Gelatin silver print, image 31.5 x 31 cm.
Provenance: Galleri Östermalm, Stockholm.
Literature: Hans Gedda and Bodil Malmsten, 'Cirkus Circus Cirque', 1995, compare image p. 24. Magnus Olausson e.a, “Hans Gedda; Det tredje ögat”, 2013, illustrated on spread p. 132–133.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
162. Jesper Waldersten (Sweden, 1969–) 'Vi vet inte var du bor', 2017.
Signed Waldersten and numbered 2/5 verso.
Total edition of 5 + 1 AP. C-print diasec mounted on acrylic glass 110 x 160 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
Fom the 'Times Square'-portfolio published 1997.
Signed Lars Tunbjörk and numbered 21/25 verso.
Total edition of 25 + 3 AP. C-print, image 22.6 x 29 cm.
Provenance: Aperture Foundation, New York.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
Signed Joakim Eneroth and numbered 4/8 on label verso.
Total edition of 8 + 2 AP. Digital C-print 102 x 129 cm including frame.
Provenance: Christian Larsen, Stockholm.
Estimate: SEK 35 000 – 40 000 / EUR 3 090 – 3 530 (d)
Signed Miriam Bäckström and numbered 1/3 verso. Cibachrome mounted on dibond 50 x 50 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
163. Lars Tunbjörk (Sweden, 1956–2015) '42nd Street and Eight Avenue', 1997.
164. Joakim Eneroth (Sweden, 1969–) 'Swedish Red #40', 2009.
165. Miriam Bäckström (Sweden, 1967–) 'Dödsbo #2', 1996.
166. Dawid (Björn Dawidsson) (Sweden, 1949–) '1133', 1983. From the series 'Arbetsnamn skulptur'. Signed verso. Executed in 1983. Vintage. Edition 1. Gelatin silver print, image 19.4 x 24.4 cm. Including the artist's original frame 49.6 x 54.7 cm.
Provenance: Bukowski Auktioner, Contemporary Art & Design 619, November 2019, lot 108.
Exhibitions: Thielska Galleriet, Stockholm, 'Mot fotografiet', November 1989–January 1990.
Literature: Ulf Linde and Dawid, 'Mot Fotografiet / Arbetsnamn skulptur', 1989, illustrated on full-page.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
168. Dawid (Björn Dawidsson) (Sweden, 1949–) '2909', 1987.
From the series 'Arbetsnamn skulptur'. Signed verso. Executed in 1988. Vintage. Gelatin silver print, image 24.6 x 19.5 cm. Including the artist's original frame 54.5 x 49.5 cm.
Provenance: Stockholms Auktionsverk, 24 september 2018.
Exhibitions: Thielska Galleriet, Stockholm, 'Mot fotografiet', November 1989–January 1990.
Literature: Ulf Linde och Dawid, 'Mot Fotografiet / Arbetsnamn skulptur', 1989, illustrated on full-page.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
167. Dawid (Björn Dawidsson) (Sweden, 1949–) '2058', 1985.
From the series 'Arbetsnamn skulptur'. Signed verso. Executed in 1988. Vintage. Gelatin silver print, image 19.3 x 24.5 cm. Including the artist's original frame 49.7 x 54.7 cm.
Provenance: Bukowski Auktioner, Contemporary Art & Design 619, November 2019, lot 107.
Exhibitions: Thielska Galleriet, Stockholm, 'Mot fotografiet', November 1989–January 1990.
Literature: Ulf Linde och Dawid, 'Mot Fotografiet / Arbetsnamn skulptur', 1989, illustrated on full-page.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
169. Dawid (Björn Dawidsson) (Sweden, 1949–) '3000', 1988.
From the series 'Arbetsnamn skulptur'. Signed verso. Executed in 1988. Vintage. Selenium toned gelatin silver print, image 24.6 x 19.6 cm. Including the artist's original frame 54.7 x 49.6 cm.
Exhibitions: Thielska Galleriet, Stockholm, 'Mot fotografiet', November 1989–January 1990.
Literature: Ulf Linde and Dawid, 'Mot Fotografiet / Arbetsnamn skulptur', 1989, illustrated on full-page.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
170. Lennart Olson (Sweden, 1925–2010) 'Rött ljus', 1970.
Signed Lennart Olson verso. Printed later. Gelatin silver print, image 36.5 x 28.3 cm.
171. David Yarrow (Great Britain, 1966–) 'Ranthambore National Park, India, 2013'.
From the series 'The Jungle Book Stories'. Signed David Yarrow and dated June 2013, numbered EP. Total edition of 20. Pigment print, image 124 x 124 cm. Including frame 152.5 x 152.5 cm.
Estimate: SEK 125 000 – 150 000 / EUR 11 040 – 13 240 (d)
172. Dana Sederowsky (Sweden, 1975–) 'Red Door, Beelitz Heilstätten', 2013.
Signed Dana Sederowsky and dated 2013, numbered 2/6 verso.
Total edition of 6 + 2 AP. Archival pigment print mounted on MDF and framed, image 68.5 x 105.7 cm.
Provenance: Directly from the artist to the present owner.
Exhibitions: Fotografiska, Stockholm, 'Dana Sederowsky, Selected Works 1998–2013', 23 May–31 August 2014, another example exhibited.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
173. Sofia Ekström (Sweden, 1978–) 'Tupitsa! Stupid!', 2012.
Signed Sofia Ekström and dated 2012, numbered 1/7, verso.
Total edition of 7 + 2 AP. C-print 130 x 110 cm.
Provenance: SAK lottery 2013. Private Collection, Sweden.
Exhibitions: Galleri Mejan, Stockholm, 'Tupitsa!', 31 January–6 February 2013, another example exhibited.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
174. Gunnar Smoliansky (Sweden, 1933–2019) 'Slussen', 1952.
Signed Gunnar Smoliansky verso. Printed by the photographer. Gelatin silver print, image 19 x 19 cm.
Provenance: Directly from the photographer to the present owner.
Literature: Gunnar Smoliansky, Hans Henrik Brummer and Carl Johan Malmberg, 'Gunnar Smolianskys fotografier från Slussen i Stockholm 1952', 2002, illustrated.
Gunnar Smoliansky (e.a), 'Gunnar Smoliansky -One Picture at a Time, 2008, illustrated full-page pl. 59. Henrik Nygren and Lars Forsberg (ed.), 'Gunnar Smoliansky 1933-2019, Vol. 2/2', 2021, illustrated on full-page p. 642.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
175. Helena Blomqvist (Sweden, 1975–) 'Rambling in the Rain', 2013.
From the series 'Slumberland'. Signed Helena Blomqvist and numbered 4/6 on label verso. Total edition of 6 + 2 AP. Pigment print, image 75 x 100 cm.
Including frame 97 x 121.5 cm.
Provenance: Angelika Knäpper Gallery, Stockholm.
Literature: Helena Blomqvist, 'Florentine', 2016, illustrated on full-page.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
176. Mikael Jansson (Sweden, 1958–)
'H.K.H Kronprinsessan Victoria, #2 Stockholm Studio, 2002'.
Signed Mikael Jansson and dated 2004, numbered 1/6, verso. Total edition of 6 + 1 AP. Gelatin silver print mounted on aluminum and framed, image 43 x 43 cm.
Provenance: Galleri Christian Larsen, Stockholm.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
177. Terry O'Neill (Great Britain, 1938–2019) 'Faye Dunaway, Hollywood, 1977'.
Signed Terry O'Neill and numbered 38/50. C-print, image 91 x 91 cm. Including frame 127.5 x 124 cm.
Provenance: Tres Hombres Art, Halmstad.
Literature: Terry O'Neill, 'Terry O'Neill: The A-Z of Fame', 2013, compare image p. 104–105.
Estimate: SEK 200 000 – 250 000 / EUR 17 660 – 22 070 (d)
178.
Signed Albert Watson and numbered 11/25 verso. C-print, image 60.5 x 47 cm. Sheet 76 x 60 cm.
Estimate: SEK 70 000 – 90 000 / EUR 6 180 – 7 950 (d)
179.
Signed Åke E:son Lindman on label verso. Pigment print 102 x 141 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 530 – 4 420 (d)
Albert Watson (Great Britain, 1942–) 'David Bowie, The Finger, New York City, 1996'. Åke E:son Lindman (Sweden, 1953–) 'Prada, Marfa, Texas', 2015.180. Anders Krisár (Sweden, 1973–) 'Untitled No. 3', 2003–2004.
Signed Krisár and numbered 1/3 verso. C-print mounted on acrylic glass 40 x 50 cm.
Exhibitions: Konstmässan Sollentuna, February 2005. Kunstcenter Silkeborg, Denmark, April 2005.
Literature: Anders Krisar, 'Anders Krisar', 2011, illustrated on full-page p. 117.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
181. Juergen Teller (Germany, 1964–) Untitled, 2008.
Signed Juergen Teller and dated 27/11/08, numbered AP, verso. C-print, image 40.7 x 61 cm. Sheet 51 x 61 cm.
Provenance: Acquired by the present owner at an auction at the University of the Arts, London, in 2008.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
182. Laurie Simmons (USA, 1949–) 'Cowboy Pattern', 1979.
Signed Laurie Simmons and numbered 3/7 verso. Cibachrome, image 12 x 18.5 cm.
Provenance: Galleri Nordanstad–Skarstedt, Stockholm.
Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 650
183. Cooper & Gorfer (Austria, 1979–) 'Nazgul Holding Wheat in Green', 2010.
From the series 'My Quiet of Gold', 2006–2011.
Signed and numbered 3/6 + 2 AP on label verso. C-print mounted on dibond 100 x 80 cm.
Exhibitions: Hasselblad Center, Gestalten Space, Västerås Konstmuseum, Dunkers Kulturhus, travelling exhibition 'My Quiet of Gold', 2011–2012, another example exhibited.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
184. Blaise Reutersward (Sweden, 1961–) 'Düsseldorf-Oberkassel 1226', 2014.
Signed BLAISE REUTERSWARD and numbered 3/5 on label verso. Analogue C-print diasec mounted on acrylic glass and framed, 184.5 x 238 cm including frame.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
185. Elisabeth Ohlson (Sweden, 1961–) 'Nattvarden', 1998.
From the series 'Ecce Homo'. The receipt accompanies the work. C-print mounted on acrylic glass 123 x 200 cm.
Provenance: Zink Galleri, Stockholm.
Literature: Elisabeth Ohlson Wallin, 'Ecce Homo', 1998, illustrated.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
186. Lovisa Ringborg (Sweden, 1979–) 'Cocoon', 2009.
From the series 'Limbo Pictures'. Edition 5/5. C-print mounted on aluminum 73 x 57.5 cm.
Provenance: Gallery Niklas Belenius, Stockholm.
Exhibitions: Kulturhuset, Stockholm, 'Limbo', 28 mars–2 augusti 2009, another example exhibited.
Literature: Lovisa Ringborg, 'The Limbo Pictures', 2010, illustrated on full-page.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
187. Helena Blomqvist (Sweden, 1975–) 'The Lonely Patient', 2008.
From the series 'The Last Golden Frog'. Signed Helena Blomqvist and dated 2008, numbered 4/6, on label verso. Total edition of 6 + 2 AP. Pigment print, image 75 x 110 cm. Sheet 100 x 134 cm.
Provenance: Angelika Knäpper Gallery, Stockholm.
Literature: Helena Blomqvist, 'The Last Golden Frog', 2008, illustrated on full-page. Helena Blomqvist, 'Helena Blomqvist', 2012, illustrated on full-page.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
188. Ann-Sofi Sidén (Sweden, 1962–) 'Monotoring Station, 53 W 9th Street', 2004–2011.
Signed Ann-Sofi Sidén and numbered 1/1 on label verso. Polyptych. C-print, 25 x 25 cm each. Including frame 70 x 125 cm.
Provenance: Christian Larsen, Stockholm.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
190. Maria Miesenberger (Sweden, 1965–) 'Utan titel (Männen i gungan)', 1996.
From the series 'Sverige/Schweden'. Signed Maria Miesenberger verso.
Edition of 10. C-print 138 x 138 cm including the artist's original frame.
Provenance: Lars Bohman Gallery, Stockholm.
Literature: Maria Miesenberger, 'Sverige/Schweden', 2011, illustrated on full-page as #072.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
189. Hyun Jin Kwak (Sweden, 1974–) 'Obscure', 2012.
From the series 'The Island'. Signed Hyun-Jin Kwak and dated 2014, numbered 2/5, verso. C-print mounted on acrylic glass and framed 117 x 144 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
191. Peter Johansson (Sweden, 1964–) 'Självporträtt i rött', 2012.
Edition 5 + 2 AP. C-print 153.3 x 123.3 cm including the artist's original frame.
Provenance: Galerie Leger, Malmö. Private Collection, Sweden.
Exhibitions: Another example exhibited at: Zornmuseet, Mora, 'Johansson vs Zorn', 11 November 2012–10 March 2013. Bohusläns museum, Uddevalla, 'Samlarens blick',
26 April–8 June 2014. Kalmar konstmuseum, 'Drömmen om samlingen', 4 July–27
November 2015. Nationalmuseum c/o Konstakademien, Stockholm, 'Konstnären',
11 February - 4 September 2016. Moderna Museet, Malmö, 'Konstnären',
24 September 2016 - 19 February 2017.
Literature: Peter Johansson, Per Svensson and Klas Östergren, 'Johansson vs Zorn', 2012, illustrated on full-page.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
192. David LaChapelle (USA, 1963–) 'Negative Currency: Five Dollar Bill Used As Negative', 1990–2008.
From the series 'Negative Currency Project: US Dollar', 1990–2008. Signed David LaChapelle on label verso. Edition 4/5. Chromogenic print mounted on acrylic glass and framed, image 75 x 176 cm.
Provenance: Fred Torres Collaborations, New York. Bukowski Auktioner, Höstens Contemporary 570, November 2012, lot 186.
Exhibitions: Fotografiska, Stockholm, 'Burning Beauty–David LaChapelle', 30 November 2012 – 3 March 2013, another example exhibited.
Estimate: SEK 150 000 – 200 000 / EUR 13 240 – 17 660
193. Terry O'Neill (Great Britain, 1938–2019) 'Brigitte Bardot, Spain, 1971'.
Signed Terry O'Neill and numbered 30/50. Total edition of 50 + 10 AP. Gelatin silver print, image 119 x 90 cm. Including frame 151 x 118 cm.
Provenance: Tres Hombres Art, Halmstad.
Literature: Terry O'Neill, 'Terry O'Neill: The A-Z of Fame', 2013, illustrated on the cover and on full-page p. 21.
Estimate: SEK 300 000 – 350 000 / EUR 26 480 – 30 900 (d)
194. Thomas Ruff (Germany, 1958–) 'Substrat 2 II', 2003.
Signed Thomas Ruff and numbered 33/45 on label verso. Total edition of 45 + 10 AP. Ditone print mounted to aluminum and framed, image 100 x 75 cm.
Provenance: Edition Schellmann, München/New York.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
195. Cecilia Edefalk (Sweden, 1954–) 'Självporträtt med Pistol', 1993.
Signed Cecilia Edefalk and numbered 1/3 verso. Printed in 2020. Gelatin silver print, image 27 x 18.2 cm.
Provenance: Stene Projects, Stockholm.
Literature: Moderna Museet/Kunsthalle Bern, 'Cecilia Edefalk', exhibition catalogue, 1999, compare image p. 25. Estelle af Malmborg, 'Contemporary Swedish Photography', 2012, illustrated on cover and p. 43.
Estimate: SEK 100 000 – 125 000 / EUR 8 830 – 11 040 (d)
196. Jacob Felländer (Sweden, 1974–) 'Big Sur Invite Small', 2005.
Signed Jacob Felländer and numbered AP 2/5 on label verso. Total edition of 25 + 5 AP. Archival pigment print 42.5 x 82.5 cm including frame.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
197. Denise Grünstein (Finland, 1950–2023)
'Hals över huvud/Head over Heels', 2009.
From the series 'Figure Out'. Signed Denise Grünstein and dated 2015, numbered 3/3 verso. Total edition 3 + 1 AP. C-print mounted on aluminum and framed 122 x 152 cm including frame.
Provenance: Galleri Charlotte Lund, Stockholm.
Exhibitions: Another example exhibited: Galleri Charlotte Lund, Stockholm, 'Figure out', 10 October–21 November 2009. Kristinehamns Konstmuseum, 'Figure Out', 30 January–28 March 2010. Museet för Nutidskonst Kiasma, Helsingfors, 'Denise Grünstein; Figure In', 28 September 2013 - 5 January 2014. Kulturens Hus, Luleå, 'Denise Grünstein. Figure Out/Figure In', 14 June – 30 August 2014.
Literature: Bo Nilsson and Arja Miller e.a, 'Denise Grünstein; Figure Out', 2010, illustrated on spread.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
198. Ruud van Empel (Netherlands, 1958–) 'Connection', 2010.
Signed Ruud van Empel on label verso. Edition 2/7. Cibachrome mounted on aluminum and acrylic glass 100 x 300 cm.
Provenance: Flatland Gallery, Utrecht. Christies, 'Post-war and Contemporary Art', 4 November 2015, lot 317.
Estimate: SEK 125 000 – 150 000 / EUR 11 040 – 13 240 (d)
199. Albert Watson (Great Britain, 1942–) 'Adult Movies, Las Vegas', 2001.
Signed Albert Watson and numbered 7/10 on label verso. Archival pigment print, image 93.5 x 117.5 cm.
Provenance: Acquired directly from the artist by the present owner.
Literature: Albert Watson, 'Strip Search', 2010, illustrated.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
200. Erwin Olaf (Netherlands, 1959–) 'Berlin, Portrait 05, July 2012'.
Signed Erwin Olaf and numbered 4/10 on label verso. Chromogenic print 120 x 90 cm. Including frame 132 x 101.5 cm.
Provenance: Hamiltons, London.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
201. Masayoshi Sukita (Japan, 1938–) 'Keep Your 'Lectric Eye', 1973.
Signed Sukita and numbered 3/10. Archival digital print, image 70 x 66.5 cm. Including frame 102 x 76.5 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300
202. Terry O'Neill (Great Britain, 1938–2019) 'Roman Polanski and Sharon Tate', 1968.
Signed Terry O'Neill and numbered 2/50. Gelatin silver print, image 93 x 91 cm.
Provenance: The Photo Gallery, Halmstad.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
Cindy Sherman
Cindy Sherman got her big break in 1980, when she exhibited her first ’Untitled Film Stills’ at The Kitchen in New York. This was the start of an international career that has taken her to the very top. Sherman’s work has received widespread attention and she has an established place in contemporary art history. Sherman’s artistic project, ’Untitled Film Stills’, would forever change and shift concepts and ideas in film, feminism and art theory. Using herself as a model, she staged 69 black and white images. By imitating the clichés of female film roles, the series turns concepts inside out. They clearly show the gender stereotypes that are eternally repeated in our popular culture, such as the career woman, the bombshell, the housewife, the student and others. The series was the beginning of Sherman’s long and ongoing artistic project.
Cindy Sherman’s first work was purchased by the Museum of Modern Art in 1982, when she was only 28 years old. In the same year, she was
included in both the Venice Biennale and Documenta 7, attracting enormous attention and making her international breakthrough. In 2012, she was honoured with a major retrospective exhibition at the Museum of Modern Art, New York, and in 2013 the exhibition ’Untitled Horrors’ was shown at Moderna Museet in Stockholm.
203. Cindy Sherman (USA, 1954–) 'Untitled (Secretary)', 1977–1978. Signed Cindy Sherman and dated 1993, numbered 105/125, verso. Sepia-toned gelatin silver print, image 30.2 x 22.5 cm.
Exhibitions: Contemporary Art Museum St. Louis, 'Cindy Sherman–Working Girl', 16 September–31 December 2005, another example exhibited.
Literature: David Frankel (ed.), 'Cindy Sherman; The Complete Untitled Film Stills', 2003, illustrated p. 11. Cindy Sherman, 'Cindy Sherman–Working Girl', 2006, illustrated on the cover.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060
Signed Doon Arbus verso. Printed by Neil Selkirk. Gelatin silver print, image 37 x 37 cm.
Sheet 50.5 x 40.5 cm.
Provenance: Harry Lunn JR, Washington D.C, October 1977. Galleri Camera Obscura, Stockholm. Bukowski Auktioner, Contemporary Art & Design, April 2012. Private Collection.
Literature: Doon Arbus and Marvin Israel, 'Diane Arbus', 1972, illustrated on full-page. Doon Arbus e.a, 'Diane Arbus Revelations', 2003, illustrated on full-page p. 10.
Estimate: SEK 150 000 – 200 000 / EUR 13 240 – 17 660
12% Import VAT will be charged on the hammer price on this lot.
205. Withdrawn
204. Diane Arbus (USA, 1923–1971) 'Woman with a Veil on Fifth Avenue, N.Y.C 1968'.206. Denise Grünstein (Finland, 1950–2023) 'Cadmium Red', 2011. From the series 'AcuteStillLife'. Signed Denise Grünstein and numbered AP 1/2 verso. Total edition 5 + 2 AP. C-print mounted to aluminum and framed, 82 x 102 cm including frame.
Provenance: Galleri Mårtensson & Persson, Stockholm.
Literature: Estelle af Malmborg, 'Contemporary Swedish Photography', 2012, illustrated p. 67.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
207. Nathalia Edenmont (Sweden, 1970–) 'Late Bloomer', 2016–2017.
Signed N Edenmont and numbered 2/6 verso. Total edition of 6 + 2 AP. C-print silicone mounted on glass and framed, 170 x 181 cm including frame.
Provenance: Wetterling Gallery, Stockholm.
Exhibitions: Wetterling Gallery, Stockholm, 'Mother Earth', 22 March–5 May 2018, another example exhibited.
Literature: Nathalia Edenmont and Wetterling Gallery, 'Mother Earth', exhibition catalogue, 2018, illustrated.
Estimate: SEK 140 000 – 160 000 / EUR 12 360 – 14 130 (d)
208. Johan Bergström (Sweden, 1978–) 'Pagan Postcards (Mayhem Excerpt #04)', 2011.
Signed Johan Bergström and numbered 2/2 +1 AP on label verso. Pigment print 100 x 137 cm.
Provenance: Nordin Gallery, Stockholm.
Exhibitions: Nordin Gallery, Stockholm, 'Pagan Postcards', 2012. Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
209. Maria Friberg (Sweden, 1966–) 'Days of Eyes 1', 2014.
Signed Maria Friberg and numbered 3/3 verso. Pigment print 188 x 150 cm.
Exhibitions: Varbergs konsthall, 'Under isen ligger himlen', 23 September 2023–7 January 2024. Havremagasinet, Boden, 6 February–10 April 2016, another example exhibited.
Literature: Maria Friberg e.a, 'Changed Positions', 2015, illustrated on full-page p. 17.
Estimate: SEK 70 000 – 90 000 / EUR 6 180 – 7 950
210. Sofia Änghede (Sweden, 1972–) '#33', 2011.
From the series 'Den andra dimensionen'. Signed Sofia Änghede and numbered 1/5 on label verso. Total edition of 1/5 + 1 AP. C-print silicone mounted to glass 120 x 90 cm.
Provenance: Galleri Mårtenson & Persson, Båstad.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
211. Denise Grünstein (Finland, 1950–2023) 'Deja Vu', 2014.
From the series '1866'. Signed Denise Grünstein and dated 2015, numbered 3/3, verso. C-print mounted on aluminum and framed, 82 x 102 cm including frame.
Provenance: Galleri Charlotte Lund, Stockholm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
212.
Lennart Nilsson (Sweden, 1922–2017)
'Birgit Nilsson, Kungliga Operan, 1966'.
Signed Lennart Nilsson and numbered 1/2 + 1 AP verso.
Printed in 2013. Gelatin silver print, 148 x 231 cm including frame.
Provenance: Tres Hombres Art, Halmstad.
Estimate: SEK 100 000 – 150 000 / EUR 8 830 – 13 240 (d)
213. David Hockney (Great Britain, 1937–)
'Joe MacDonald in His Apartment, New York, Dec 1982'.
Signed David Hockney and numbered #13 on the mount. A total edition of 20. Photographic collage 100.5 x 137.5 cm including frame.
Provenance: Acquired directly from the artist in New York via Swedish gallerist Björn Bengtsson, 1984.
Literature: David Hockney and Lawrence Weschler, “Cameraworks”, 1984, illustrated on pl. 83.
Estimate: SEK 175 000 – 200 000 / EUR 15 450 – 17 660 (d)
214. Leif-Erik Nygårds (Sweden, 1939–2022) 'Marilyn Monroe
photographed in Los Angeles at Bel Air Hotel, June 27th 1962'.
Signed Leif-Erik Nygårds and numbered AP verso.
Total edition of 32 + AP. Pigment print, image 50 x 75 cm.
Provenance: Directly from the photographer to the present owner.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
Richard Misrach
Richard Misrach is considered one of the most influential photographers of his generation. He played a major role in the rise of colour photography in the 1970s and also influenced the development of conceptual photography with his monumental colour images.
Born in Los Angeles in 1949, he has remained faithful to California both privately and artistically for almost his entire life. His desolate scenes from California, Arizona and New Mexico show landscapes and places affected by human actions and decisions. In his work, he has always sought to combine the aesthetic with the political. In hazy, dreamlike views, he depicts the classic American Midwest landscape of farmland, prairie and desert. Wanting to show the effects of environmental degradation and global warming on our local environment, he has photographed industries along the Mississippi River, known as ’Cancer Alley’, as well as the nuclear test site in Nevada and both floods and heat waves. Many of his images of the devastation of Hurricane Katrina are in the collection of the National Gallery of Art in Washington DC. The studies of weather, time, colour and light in his series of photographs of the Golden Gate Bridge and the desert images of flash-lit cacti and palm trees are both
well known. In his ongoing project ’Border Cantos’, Misrach documents graffiti on abandoned buildings throughout Southwest and Southern California, finding an angry and ominous response to the highly charged political climate before and after the 2016 election.
Richard Misrach has been exhibited internationally at many of the most important art institutions, including the Centre Pompidou in Paris and the Houston Museum of Fine Arts. His photographs are in the collections of The Museum of Modern Art, The Whitney Museum of American Art and the Metropolitan Museum of Art, all three in New York.
215.
Richard Misrach (USA, 1949–) 'Palm #3', 1975.
Signed Richard Misrach verso. Selenium toned gelatin silver print, image 38 x 37.5 cm. Sheet 50.5 x 41 cm.
Provenance: Galleri Camera Obscura, Stockholm.
Literature: Grapestake Gallery, San Francisco, 'Richard Misrach', 1979, illustrated on full-page p. 77.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180
216. Christer Strömholm (Sweden, 1918–2002) 'Paris, 1962'.
Signed CHR Strömholm and fingerprint verso. Printed by Sanna Sjöberg in 1997–98. Certificate from the Strömholm Estate accompanies the work. Gelatin silver print, image 40 x 32 cm. Sheet 42.6 x 33 cm.
Provenance: Christer Strömholm Estate. Private Collection, Sweden.
Literature: Lars Hall and Gunilla Knape (ed.), 'Imprints by Christer Strömholm–CHR. The Hasselblad Award 1997', 1998, illustrated on p. 27. Joakim Strömholm and Jakob Strömholm, 'Christer Strömholm 1918–2002, On verra bien', 2002, illustrated on p. 35. Moderna Museet 'En annan historia', 2011, illustrated on pl. 96. Joakim Strömholm (ed.), 'Post Scriptum Christer Strömholm', 2012, illustrated on p. 99.
Estimate: SEK 100 000 – 125 000 / EUR 8 830 – 11 040 (d)
217. Christer Strömholm (Sweden, 1918–2002) 'Gina och Nana, Paris, 1963'.
Signed Christer, with a fingerprint, and dedication verso. Presumably printed around the year 2000. Gelatin silver print, image 27 x 20 cm. Sheet 35 x 24 cm.
Provenance: Gift directly from the photographer. Thence by descent.
Literature: Joakim Strömholm (ed.), 'Post Scriptum', 2012, illustrated p. 60. Christer Strömholm, 'Friends at Place Blanche', 1983, illustrated on full-page.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
218. Hans Gedda (Sweden, 1942–) 'Stilleben med död fågel, benknotor och stenfris', 1996.
Signed Hans Gedda. Numbered 1/10 verso. Vintage. Gelatin silver print, image 40 x 31.5 cm. Sheet 48.5 x 39 cm.
Provenance: Stockholms Auktionsverk, Nutida, 13 November 2013, lot 241.
Literature: Magnus Olausson e.a, 'Hans Gedda; Det tredje ögat', 2013, illustrated on full-page p. 118.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
219. Weegee (Arthur Fellig) (USA, 1899–1968) 'Man Killed in Accident, Market Place, New York City', circa 1938–1942. Stamp 'ARTHUR FELLIG / 5 CENTER MARKET PLACE / NEW YORK CITY' verso. Also marked 042065209 in pencil verso. Gelatin silver print mounted on cardboard, image 34 x 27 cm. Mounting 34.7 x 27.5 cm.
Provenance: Stockholms Auktionsverk, Nutida, November 2012.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830
220. Jerry N. Uelsmann (USA, 1934–2022) 'Philospher's Desk', 1976.
Signed Jerry N. Uelsmann and copyright stamp verso. Gelatin silver print, image 31.8 x 26.5 cm. Sheet 35.5 x 27.7 cm.
Literature: Jerry Uelsmann and A.D. Coleman, 'Jerry Uelsmann: Photo Synthesis', 1985, illustrated on cover.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
221. Jerry N. Uelsmann (USA, 1934–2022) 'Untitled', 1997.
Signed Jerry N. Uelsmann and copyright stamp verso. Gelatin silver print, image 34.2 x 24.9 cm. Sheet 35.5 x 28 cm.
Literature: Jerry Uelsmann, 'Approaching the Shadow', 2000, illustrated.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210
222. Hans Hammarskiöld (Sweden, 1925–2012) 'Morgondagg på eklöv', 1952.
Signed Hans Hammarskiöld. Also signed and numbered 77/100 verso. Gelatin silver print, image 46.5 x 38 cm.
Literature: Rune Jonsson, 'Hans Hammarskiöld', 1979, illustrated on full-page p. 21. Kurt Mälarstedt, 'Foto Hammarskiöld–Tiden och ljuset', 2008, illustrated on full-page p. 54.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
223. Blaise Reutersward (Sweden, 1961–) 'LACS 709', 2009.
Signed BLAISE REUTERSWARD and dated 2016 and numbered AP 2/2 verso. Total edition of 5 + 2 AP. C-print diasec mounted and framed 185.5 x 300 cm including frame.
Provenance: Private Collection, Los Angeles.
Estimate: SEK 125 000 – 150 000 / EUR 11 040 – 13 240 (d)
224. Pieter Hugo (South Africa, 1976–) 'Danielle Lawrence, United Kingdom, 2003'.
From 'The Albino series'. Signed Pieter Hugo and numbered 3/3. Archival pigment ink on cotton rag paper, image 100 x 80 cm. Including frame 115 x 94 cm.
Provenance: Stevenson Gallery, Kapstaden. Paul Frank McCabe, Milano. Bukowski Auktioner, Contemporary Art & Design 631, May 2021. Private Collection, Sweden.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300
Certificate signed Jacob Felländer accompanies the work.
Edition 2/5. C-print mounted on aluminum 80 x 190 cm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
Exhibitions: Fotografiska, Stockholm, 'Jesper Waldersten All Over', 8 mars – 9 juni 2019, another example exhibited. Lidköpings Konsthall, LIdköping, Sweden, 'Waldersten All Over', September 11–October 30, 2021, another example exhibited.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
227. David LaChapelle (USA, 1963–) 'Negative Currency: 10 Yuan used as Negative', 2010.
Signed on label verso. Edition 4/5. Chromogenic print mounted on acrylic glass and framed, 81 x 164 cm including frame.
Provenance: David LaChapelle Studio, New York.
Estimate: SEK 150 000 – 175 000 / EUR 13 240 – 15 450
225. Jacob Felländer (Sweden, 1974–)'Los Angeles, Hong Kong, Bombay', 2011. 226. Jesper Waldersten (Sweden, 1969–) 'Grounded', 2018. Signed Waldersten and dated 2019, numbered 2/3 + 2 AP, verso. Pigment print mounted to aluminum and framed, 135 x 92 cm including frame.228. Lovisa Ringborg (Sweden, 1979–)
'The Green Room II', 2010.
Edition 1/5. C-print 139 x 105 cm.
Provenance: Gallery Niklas Belenius, Stockholm.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
229. Andreas Eriksson (Sweden, 1975–) 'Untitled', 2010.
Signed Andreas Eriksson and dated 2010 verso. Unique. The book 'High, Low & In Between', 2011, accompanies the work. C-print mounted on dibond 40 × 60 cm.
Provenance: Galleri Susanne Ottesen, Copenhagen.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
230. Helena Blomqvist (Sweden, 1975–) 'Masquerade', 2016.
Signed Helena Blomqvist and numbered AP verso. Total edition of 6 + 2 AP. Pigment print, image 116 x 150 cm.
Exhibitions: Lars Bohman Gallery, Stockholm, “Florentine”, 17 March–23 April 2016, another example exhibited.
Literature: Helena Blomqvist, 'Florentine', 2016, illustrated on full-page.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
Signed Douglas Kirkland and numbered 15/25. Certificate accompanies the work. Pigment print, image 137 x 91 cm. Including frame 155 x 107 cm.
Provenance: Iconic Images, London.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830
188 x 247 cm including frame.
Provenance: Nordin Gallery, Stockholm.
Exhibitions: Nordin Gallery, Stockholm, 'Melting Point', 8 mars–14 april 2012.
Estimate: SEK 100 000 – 150 000 / EUR 8 830 – 13 240 (d)
Edition 5/5 + 1 AP. Certificate accompanies the work. Verso is a copy of an agreement between Superflex and Lacoste regarding a penalty of DKK 25,000 for trademark infringement. C-print and black paint mounted on dibond and framed, 102.5 x 96.5 cm including frame.
Provenance: NoCo – Nordic Contemporary Art Collection. Private Collection, Stockholm.
Exhibitions: Vestfossen Kunstlaboratorium, Vestfossen, 'If you don't like art, Goodbye, Fuck off, Go home…', 6 May–1 October 2017. Stockholm Art Week @ Volvo, Stockholm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830
231. Stéphane Couturier (France, 1957–) 'Usine Toyota No. 9', 2005. From the series 'Toyota Melting Point'. Signed Stéphane Couturier and numbered 2/5 verso. C-print, 232. Douglas Kirkland (Canada, 1934–) 'Marilyn Monroe', 1961. 233. Superflex (Jakob Fenger, Rasmus Nielsen, Bjørnstjerne Christiansen) (Denmark) 'Supercopy/Lacoste/Light Blue (Blackout)', 2002–2007.234. Maria Miesenberger (Sweden, 1965–) ‘Utan titel (Bollen)’, 1993.
From the series 'Sverige/Schweden'. Signed Maria Miesenberger and numbered 6/10 verso. Gelatin silver print, 53 x 68 cm including the artist's original frame.
Provenance: Lars Bohman Gallery, Stockholm.
Literature: Maria Miesenberger, 'Sverige/Schweden', 2011, illustrated on full-page as #021.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
235. Maria Miesenberger (Sweden, 1965–) 'Utan titel (Hon)', 1993.
Signed Maria Miesenberger and dated 1993, numbered 9/10, verso. Total edition of 10 + 2 AP. Gelatin silver print, image 48.5 x 36.7 cm. Including the artist's original frame 71.5 x 57.5 cm.
Provenance: Lars Bohman Gallery, Stockholm. Bukowski Auktioner, Contemporary Art & Design, 14 May 2014, auction 579, lot 227.
Literature: Maria Miesenberger, 'Works', 1998, Galleri Lars Bohman, illustrated spread p. 22–23. Maria Miesenberger, 'Sverige/Schweden', 2011, illustrated full-page p. 016.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
236.
From the series 'Across the Ravaged Land', 2010–2012. Signed Nick Brandt and numbered 5/12. Pigment print, image 101 x 126 cm. Including frame 136 x 160 cm.
Literature: Nick Brandt, 'Across the Ravaged Land', 2013, illustrated on full-page p. 85.
Estimate: SEK 125 000 – 150 000 / EUR 11 040 – 13 240 (d)
237. Withdrawn
Nick Brandt (Great Britain, 1966–) 'Lion and Wildebeest, Amboseli, 2012'.
238. Torsten Andersson (Sweden, 1926–2009) 'Tygskulptur'.
Signed Torsten. Executed around year 2000. Canvas 59.5 x 58.5 cm.
Provenance: Uppsala Auktionskammare, Important Sale, 12–16 June 2012, lot 388.
Private Collection, Malmö.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
239. Klara Kristalova (Sweden, 1967–) ‘Det goda och det onda med skogen’.
Signed K. Kristalova and dated–12. Ink on paper 32 x 24 cm.
Provenance: Galleri Magnus Karlsson, Stockholm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
240. Joakim Ojanen (Sweden, 1985–) Untitled.
Signed J.O and dated 15. Unique. Glazed ceramic. Height 9 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
241. Mats Gustafson (Sweden, 1951–) 'Red dress'. Signed Mats Gustafson and dated 1999 verso. Watercolour, image 39 x 40 cm.
Provenance: Glenn Horowitz Bookseller, NY. Acquired 2 August 2005.
Estimate: SEK 35 000 – 40 000 / EUR 3 090 – 3 530 (d)
242. Jens Fänge (Sweden, 1965–) 'Studio'.
Executed in 2006. Oil on panel 59.5 x 55 cm. Including frame 69.5 x 64.7 cm.
Provenance: Galleri Magnus Karlsson, Stockholm.
Exhibitions: Galleri Magnus Karlsson, Stockholm, 'Maison du Peuple', 31 August – 1 October 2006.
Estimate: SEK 70 000 – 90 000 / EUR 6 180 – 7 950 (d)
243. Peter Frie (Sweden, 1947–) Untitled. Signed P Frie verso. Oil on canvas 70 x 50 cm.
Provenance: Bohman-Knäpper, Stockholm.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
245. Astrid Sylwan (Sweden, 1970–) 'Skuru'.
Signed Astrid Sylwan and dated 2016 verso.
Acrylic on canvas 60 x 50 cm.
Provenance: Galleri Andersson/Sandström, Stockholm.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
244. Ditte Ejlerskov (Denmark, 1982–) 'Dream Gradient #2'.
Signed Ditte Ejlerskov verso. Executed in 2019. Canvas 200 x 250 cm.
Provenance: Private Collection, Stockholm.
Estimate: SEK 70 000 – 90 000 / EUR 6 180 – 7 950 (d)
246. Lisa D Manner (Sweden, 1979–) 'Parachute'.
Signed Lisa D Manner and dated 2016 verso. Oil on panel 40 x 30 cm.
Provenance: Galleri Flach, Stockholm.
Exhibitions: Galleri Flach, Stockholm, 'Whereabouts', 25 February–2 April 2016.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
247. Linn Fernström (Sweden, 1974–) 'Flickan med Vingar'.
Signed Linn Fernström and dated 2005 verso.
Charcoal on paper 105 x 75 cm.
Provenance: Lars Bohman Gallery, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
248. Lena Cronqvist (Sweden, 1938–) 'Flickor'.
Signed L Cronqvist and dated 93. Egg-oil and tempera on canvas 54 x 43 cm
Estimate: SEK 100 000 – 125 000 / EUR 8 830 – 11 040 (d)
249. Ernst Billgren (Sweden, 1957–) 'Minne'.
Signed Ernst Billgren and dated 89 verso.
Oil on panel in the artist's mosaic frame 62 x 85 cm.
Provenance: Art for the Globe Collection.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
Thomas Broomé
Thomas Broomé (b. 1971 in Malmö) is currently based in Stockholm and is represented by Galleri Magnus Karlsson. The auction's painting ‘The Loosely Tied Cloth' was exhibited at the gallery in 2012 in the exhibition ‘The Guest’.
Anders Olofsson reviewed Broomé's exhibition ‘The Guest’ at Galleri Magnus Karlsson in May 2012 on www.konsten.net.
‘Thomas Broomé's new exhibition has a very special background. In the summer of 2011 he was the first visual artist to receive The Bergman Estate on Fårö Foundation grant, which gave him the opportunity to spend three months in and around Ingmar Bergman's house on Fårö. For Broomé, who has previously worked with Ingmar Bergman's film art as a model, the new project has o ered unique opportunities to delve deeper into both our personal and collective relationship with the great filmmaker.
It would have been tempting to simply spin on Bergman's rich set of motifs and characters, but Broomé has instead chosen to focus on the man behind the work, on the unique world that he built on Fårö, and which ultimately constituted his entire universe where film art and life were intertwined into one whole. A significant part of the exhibition focuses on the contrast between light and dark, an area in which Bergman himself excelled (with the help of his genius photographer Sven Nykvist). In an evocative video, with music by Andreas Kleerup, Broomé takes us on a nocturnal walk-through Bergman's house. Lights that go on and off reveal one part of the interior after another, but we can never get a clear picture. We are at the mercy of the artist's choice of angles and pace. The whole that connects our fragmentary experiences is left for us to create.
Something similar applies to the paintings that also make up the exhibition. Broomé has built them up with the help of lines and spaces, which means that they consist (almost) as much of empty space as of color. But viewed from an appropriate distance, they appear as dense entities, reflecting a suggestive semi-darkness. From this point of view, Ingmar Bergman's world appears to be a mystery as great as it is genuine, and we are allowed to remain in that feeling long after we have left the exhibition space. In the entrance stands a collection of lamps, presumably those used to light and darken the video work. In a group, surrounded by daylight, they seem matter of fact and prosaic. Yet we know how little they have been able to penetrate the enchantment of the Bergman House. Thomas Broomé's cultural achievement thus consists of recovering something of the immediate power of suggestion that surrounds Ingmar Bergman, and which column meters of research and commentary have to some extent institutionalized to the point of museum-ness. It is a stiff achievement.’
Thomas Broomé's work is well represented and can be found at Moderna Museet, Stockholm, Göteborgs Konstmuseum, Borås Konstmuseum, Statens Konstråd and in several municipalities and county councils.
250. Thomas Broomé (Sweden, 1971–) 'The Loosely Tied Cloth'. Signed Broomé and dated 2012 verso. Acrylic on canvas 70.5 x 105.5 cm.
Provenance: Galleri Magnus Karlsson, Stockholm.
Exhibitions: Galleri Magnus Karlsson, Stockholm, 'Thomas Broomé, The Guest', 19 April–20 May 2012.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
251. Dan Wolgers (Sweden, 1955–) 'Källa (Candle-stick)'.
Candelabrum for three candles in silver-plated bronze, 2007, edition of 100. Height 11.5 cm.
Literature: Lars Bohman Gallery, Stockholm, 'Cire Perdue Dan Wolgers', 2007, illustrated full-page.
Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 060 (d)
252. Kristoffer Zetterstrand (Sweden, 1973–) 'The Summoner'.
Signed KZ and dated 14. Also signed Kristoffer Zetterstrand and dated 2014 verso. Canvas 70 x 80 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
253. Anette Harboe Flensburg (Denmark, 1961–) 'Alfabet'.
Signed Anette Flensburg and dated 2012 verso. Canvas 30 x 40 cm.
Provenance: Galerie Møller Witt, Denmark.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
254. Andreas Eriksson (Sweden, 1975–) 'Landskap i spegling'.
Signed Andreas Eriksson and dated 2013 verso. Oil on canvas 119 x 100 cm.
Provenance: Acquired directly from the artist.
Estimate: SEK 150 000 – 200 000 / EUR 13 240 – 17 660 (d)
255. Malin Gabriella Nordin (Sweden, 1988–) 'Gone Away'.
Signed MGN and dated–18. Flashe on canvas 140 x 95 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 300 (d)
256. Lotta Hannerz (Sweden, 1968–) 'Notes-08'.
Signed Lotta Hannerz and dated 2008 verso. Oil and assemblage on canvas 97 x 130 cm.
Provenance: Angelika Knäpper Gallery, Stockholm.
Exhibitions: Galerie Conrads, Düsseldorf, 'Lotta Hannerz', 8 November - 20 December 2008.
Literature: SvD, January 28, 2010, ill. p. 2.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
Provenance: Bukowski Auktioner, Moderna Höstauktionen 517, 2000, lot 371.
Estimate: SEK 175 000 – 200 000 / EUR 15 700 – 18 000 (d)
256A. Barbro Bäckström (Sweden, 1939–1990) Untitled. Signed Barbro Bäckström and dated 1981. Iron mesh. Height 100 cm.
Signed Jacob Dahlgren and dated 2002 verso. Acrylic on MDF 40 x 35 cm.
Provenance: Galleri Charlotte Lund, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
Signed Emm Berring and dated 2017 verso. Oil on panel 50 x 70 cm.
Exhibitions: Vargåkra Gård konsthall & galleri, Hammenhög, 'Sommarutställning med måleri av Yngve Rådberg & Emm Berring', July 2017.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
259.
on the Presence of Time #2'.
Signed MM and dated 2013/19. Edition 4/5. Polished stainless steel, Valchromat podium, 40 x 29 x 17 cm.
Provenance: Anna Bohman Gallery, Stockholm.
Estimate: SEK 70 000 – 90 000 / EUR 6 180 – 7 950 (d)
Signed Helene Billgren and dated–10 verso. Acrylic on MDF 77 x 88 cm.
Provenance: Angelika Knäpper Gallery, Stockholm.
Exhibitions: Angelika Knäpper Gallery, Stockholm, 2010.
Literature: Helene Billgren and Angelika Knäpper Gallery, 'Flickor hemifrån & Mina Drömmar', 2011, illustrated on full-page.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
Maria Miesenberger (Sweden, 1965–) 'Reflection 260. Helene Billgren (Sweden, 1952–) 'Tankar på utflykt'. 257. Jacob Dahlgren (Sweden, 1970–) 'Peinture abstraite (small) numéro dix-neuf'. 258. Emm Berring (Sweden, 1983–) 'Avskilja'.
261. Torsten Andersson (Sweden, 1926–2009) Untitled. Signed Torsten Andersson verso. Canvas 210 x 180 cm.
Provenance: Bukowski Auktioner, Contemporary 564, 16 November 2016, lot 435. Private Collection.
Estimate: SEK 250 000 – 300 000 / EUR 22 070 – 26 480 (d)
Provenance: Bukowski Auktioner, Vårens Moderna Auktion, 27 April 1998. Private Collection, Stockholm.
Estimate: SEK 150 000 – 175 000 / EUR 13 240 – 15 450 (d)
263. Withdrawn
262. Barbro Bäckström (Sweden, 1939–1990) Sleeping (Sovande). Signed Barbro Bäckström and dated 1971. Iron mesh 55 x 80 cm, mounted to cardboard 65 x 90 cm.Lena Cronqvist
From 1982 onwards, Lena Cronqvist often returned to the motif of the model, the artist and the mirror. This subject came to interest her deeply and she produced a total of 23 paintings that were exhibited at SAK's travelling exhibition in 1987. The suite begins with a self-portrait in which she sits at a table filled with paint, brushes in hand. The series ends with two works of her at her mother's deathbed, both titled 'August 1986'. Sune Nordgren has described the creation of the series "The painter and her model" as a mourning process in the time after her father's death, characterised by loss and the certainty of her mother's inexorable ageing:
‘In different guises, as if trying out different roles, she holds a hand mirror close to her. But she does not always see her own face reflected. Sometimes she sees, as if under the surface of the mirror, the image of her aged mother, a reminder of all that is transient. Then Lena brings the mirror even closer to her, makes every effort to meet this hypnotic gaze, and with her free hand she grips a bundle of brushes tightly. To the work! The only way out is to paint, to work without reflection, for hours, to reach those brief moments when the image takes over and decides itself. Becomes true. So that she can search for herself among all these images, a whole and coherent figure of all the possible ones: the child, the woman, the mother, the artist. A whole gallery of Lena.’
The mood is varied in the extensive suite of paintings, some images are dark, the face surfacing in the mirror becomes a demon to be subdued. Shadowy images from the past appear on the wall behind the subject. The model's face is interchangeable, sometimes it is the artist's own, sometimes a mask or an unknown person. However, the recurring brushes that the model grips tightly symbolise hope and creation as a path to another reflection of existence.
In the current work, we encounter a brighter and more peaceful scene. The subject is bathed in light, which is enhanced by the whitewashed wall in the background. The artist portrays herself sitting serenely on a stool in the studio with her upper body exposed. The hands holding the mirror and brushes rest calmly in her lap. The painter's palette has been stored away on the wall behind her and seems to fade into the background. She has resolutely turned the hand-mirror away from her, lifted her chin and her gaze is set on the future. On the floor to her right lies a forgotten toy horse, a memory from a bygone era. Has the artist found her whole and coherent self?
Lena Cronqvist has spent an entire artistic life consistently and curiously exploring what it really means to be human. She has depicted people in their most vulnerable situations, from the defenseless infant to the elderly man on his deathbed. In between, she has sculpted with colour and painted children's play, adults' awkward attempts at tenderness and their longing for love, and using herself as a model, she has questioned the self and the role of the individual in relation to the collective. Lena Cronqvist has a unique ability to explode and merge boundaries between the inner space and the outer reality, the personal experience and the general historiography, the highly personal and the universal.
263A. Lena Cronqvist (Sweden, 1938–) 'Den röda tråden'.
Signed L. Cronqvist and dated 1983. Oil and tempera on canvas 152 x 100 cm.
Provenance: Galerie Belle, Västerås. Galleri Kavaletten, Uppsala. Private Collection, Sweden.
Exhibitions: Galerie Belle, Västerås, 'Målaren och hennes modell', exhibition no. 242, 1983. Liljevalchs konsthall, Stockholm.
Literature: Nina Weibull, 'Reflections and Creativity - A Study of Lena Cronqvist's 'The Painter and her Model' ', a PhD Thesis, Konstvetenskapliga institututionen, Stockholms Universitet, 2006. Illustrated in colour full-page pl. 5 and in b/w p. 75.
Estimate: SEK 800 000 – 1 000 000 / EUR 71 900 – 89 900 (d)
264. Ann Edholm (Sweden, 1953–) 'Medusa i Colmar'.
Signed Ann Edholm and dated 2005–06 verso. Oil on aluminum 175 x 125.5 cm.
Provenance: Bukowski Auktioner, 28 October 2008, lot 547. Private Collection, Stockholm.
Estimate: SEK 100 000 – 125 000 / EUR 8 830 – 11 040 (d)
265. Elisabeth Frieberg (Sweden, 1977–)
'How many meters are there until heaven? No.4'.
Signed E. Frieberg and dated 2010 verso. Oil on canvas 320 x 186 cm.
Provenance: Milliken Gallery, Stockholm.
Exhibitions: Milliken Gallery exhibition 'Music in Art', 5 May–18 June 2011.
Estimate: SEK 100 000 – 150 000 / EUR 8 830 – 13 240 (d)
266.
Signed Ola Billgren and dated 2000 verso. Canvas 92 x 80 cm.
Provenance: Acquired directly from the artist by the present owner in 2000.
Exhibitions: Galleri Susanne Ottesen, Copenhagen, 'Ola Billgren–Maleri Photogravure', September–October 2000.
Estimate: SEK 180 000 – 200 000 / EUR 15 890 – 17 660 (d)
267.
Signed FW and dated–16. Numbered 6/7. Total edition of 7 + 3AP. Green patinated bronze, height 43 cm.
Exhibitions: Galleri Glas, 'KLENELL WRETMAN WÅHLSTRÖM', 2 June–18
August 2022. Another example exhibited.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
Ola Billgren (Sweden, 1940–2001) 'Undersökning'.
Fredrik Wretman (Sweden, 1953–) 'Budbäraren (Hermes)'.
Signed Carl Hammoud and dated 2007 verso. Diptych. Oil on canvas 45 x 54 cm each.
Provenance: SAK lottery, 2008.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
Signed Ulf Rollof and dated 21/11/06. Acrylic and floatglass with rounds of 9 mm revolver shots 49 x 34 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
Signed Hans Isaksson and dated 2022 verso. Textile and mixed media on panel 40 x 31 cm.
Provenance: Björkholmen Gallery, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
268. Carl Hammoud (Sweden, 1976–) 'Evolution'. 269. Ulf Rollof (Sweden, 1961–) 'Small Pinkie'. 270. Hans Isaksson (Sweden, 1962–) 'Time Warp #6'.271. Ernst Billgren (Sweden, 1957–) Untitled.
Signed Ernst Billgren and dated–01. Mosaic and mixed media.
Height 55, depth 50 cm.
Provenance: Galleri Lars Bohman, Stockholm.
Exhibitions: Galleri Lars Bohman, Stockholm, 'Ernst Billgren', September 2002.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
272. Joakim Ojanen (Sweden, 1985–)
'Failface'.
Signed Joakim Ojanen and dated 2013. Glazed ceramic.
Height 23 cm.
Provenance: KAZ Galleri, Västerås.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
273. Ylva Snöfrid (Ogland) (Sweden, 1974–)
'She Who Shows the Way, 0.89 Ounce'.
Signed Ylva Ogland and dated 2008 verso.
Oil on canvas, rock crystal 81 x 68.5 cm.
Exhibitions: Shugo Arts, Tokyo, 'She Who Shows the Way–Falling Asleep', 2008.
Literature: Bonniers Konsthall och Silvana Editoriale, ed. Sara Arrhenius and others, 'Ylva Ogland, She, an introduction', Stockholm, 2015, illustrated p. 221.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
Martin Wickström
Martin Wickström belongs to the generation of post modernist painters that freely borrows expressions from pop culture and advertising, as well as pop art and photo realism. The painting 'Kind of Blue' (2006) is one in a series expanding over several years where Martin Wickström pictures the play between light and shade on the facades of buildings facing the streets in suburbs, villages and citys ranging from little Finspång to New York City. As always the colors are strong, the cropping is brave and the painting technique flawless.
The facades appear as thin and as flat as a painting. The afternoon light, both dream-like and melancholic, is minutely rendered with its shadows, sunspots and reflections on empty windows. No humans are visible. Wickström allows the viewer to imagine worlds hidden behind the facades. There is a kind of indifference to the world in these surfaces. The contrasts are powerful; the detail is precise and the painting perfect. Yet beneath the seemingly flawless surface lurks an abyss. The motifs are often both deeply personal and at the same time socially critical.
Martin Wickström graduated from the Royal Institute of Art in Stockholm in 1987. He had his breakthrough in the mid-1990s and is today counted as one of Sweden’s most important contemporary artists.
274. Martin Wickström (Sweden, 1957–) 'Kind of Blue'. Signed Martin Wickström and dated 2006 verso. Diptych. Each 180 x 145 cm. Total 180 x 290 cm.
Literature: Lars Liljendahl, Greger Ulf Nilson (ed), 'Martin Wickström-99–09', 2009, illustrated p. 446–447.
Estimate: SEK 200 000 – 300 000 / EUR 17 660 – 26 480 (d)
275. Torsten Andersson (Sweden, 1926–2009) Untitled.
Signed with dedication 'Till Bo från Torsten'. Canvas 40 x 40 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 300 (d)
276. Lars Lerin (Sweden, 1954–) Untitled.
Signed Lars Lerin and dated 2011. Watercolour, image 102 x 153 cm.
Estimate: SEK 200 000 – 250 000 / EUR 17 660 – 22 070 (d)
277. Håkan Rehnberg (Sweden, 1953–) Untitled.
Signed Håkan Rehnberg and dated 2002 verso. Oil on acrylic glass 67 x 75 cm.
Provenance: Sivert Oldenvi Collection, Stockholm. Private Collection, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
Signed Rolf Hanson and dated 1986 verso.
Oil on panel 122 x 149.3 cm. Including frame 126 x 154 cm.
Estimate: SEK 70 000 – 80 000 / EUR 6 180 – 7 060 (d)
Signed Andreas Eriksson and dated 2012 verso. Unique. Plaster 60 x 44.5 x 13 cm.
Provenance: Galerie Riis, Oslo. Private Collection, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
Signed Joakim Ojanen and dated 2018 verso. Acrylic on canvas 47.8 x 37.5 cm.
Provenance: Richard Heller Gallery, Santa Monica, CA.
Exhibitions: Richard Heller Gallery, Santa Monica, CA, 'Joakim Ojanen, Year of the Dog', 2018.
Estimate: SEK 40 000 – 60 000 / EUR 3 600 – 5 400 (d)
278. Rolf Hanson (Sweden, 1953–) 'Xelimane'.
279. Andreas Eriksson (Sweden, 1975–) 'Recur 25'.
279A. Joakim Ojanen (Sweden, 1975–) 'Dog with Ears and Tail on Fleek'.
Anders Widoff
Anders Widoff's artistic production oscillates between painting and sculpture. In his work, he often starts with simple, and seemingly insignificant objects aiming repeatedly to restore their value. He turns to the everyday and finds and gives the viewer new opportunities to see beyond the obvious.
'With his carefully painted pattern, Widoff has performed a tribute to the familiar plastic tablecloth of the kitchen table, an illusion that also contains hints of stains and traces of daily life. Through his painting, Widoff has found an intersection between realism and classical minimalism while he takes down art from its high pedestal by earnestly highlighting tangibility, everydayness, and materiality.'
Mårten Castenfors, Samling Saltarvet catalogue, 2001
280. Anders Widoff (Sweden, 1953–) 'Grammatik: 1 och 2'.
Signed A. Widoff and dated 1994 verso. Diptych. Oil on canvas 192 x 112 cm each.
Provenance: Christian Larsen Gallery, Stockholm.
Exhibitions: Stockholm Art Fair, 2005. Liljevalchs konsthall, Stockholm, '(att) bära sig', 2005.
Literature: Liljevalchs konsthall, '(att) bära sig–exhibition catalogue', Stockholm, 2005, illustrated.
Estimate: SEK 180 000 – 200 000 / EUR 15 890 – 17 660 (d)
281. Lars Englund (Sweden, 1933–) Borderlines. Sintered steel, 55 cm in diameter.
Signed EB. Executed in 1999. Oil on panel in artist's frame 153 x 175 cm.
Provenance: Galleri Arnstedt, Östra Karup.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
282. Peter Frie (Sweden, 1947–) 'Same Time Tomorrow No 41'.
Signed Peter Frie and dated–07 verso. Oil on canvas 30.5 x 25 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
283. Fredrik Söderberg (Sweden, 1972–) 'Snowdrops from a Curate's Garden 1, The Hidden Landscape of the Subconscious 1'.
Signed and dated 2012 verso. Diptych. Watercolour, image 75 x 54 cm and 31 x 23 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
Signed EB. Executed in 1999. Oil on panel in the artist's frame with signed bronze sculptures 153 x 175 cm.
Provenance: Lars Bohman Gallery, Stockholm.
Exhibitions: Jönköpings läns museum, 'Nödskott och hembesök', 17 June - 13 August 2000.
Estimate: SEK 200 000 – 250 000 / EUR 17 660 – 22 070 (d)
285.
Bronze. Height 29, width 33, depth 36 cm.
Provenance: Lars Bohman Gallery, Stockholm.
Exhibitions: Lars Bohman Gallery, Stockholm, 'Dan Wolgers', 17 November–21 December 2007.
Literature: Lars Bohman Gallery, Stockholm, 'Cire Perdue Dan Wolgers', 2007, illustrated full-page.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
284. Ernst Billgren (Sweden, 1957–) 'Stor omsorg'.
Dan Wolgers (Sweden, 1955–) 'Källa (Vattenhink)'.
‘ There is almost cinematic suspense to many of her paintings. A scenic sense of a place where something is going to happen or has just happened.’Marie Laurberg, Curator of ’Mamma Andersson’, Louisiana, Denmark, 2021.
Mamma Andersson
Mamma Andersson has been called a 'tradition bearer'. She is firmly rooted in a Swedish painting tradition represented by, for example, Hans Wigert, Lena Cronqvist and Dick Bengtsson. Her color treatment has many similarities with the latter's well-worked and patinated surfaces. However, Andersson has succeeded in creating a completely unique painterly language where she uses different techniques and types of paint to build up her images in different layers. The base can be acrylic paint, which dries quickly and is easy to apply to large canvases. The next layer can be oil paint applied with a brush and oilbars, a crayon of compressed oil paint and wax. Andersson is interested in the interplay between material and technique. Large opaque light surfaces in pastel colors are juxtaposed with details in velvety black.
Basically, Mamma Andersson sees herself as a landscape painter. She has painted mountains, trees, plains - often Nordic and especially northern nature. Motifs from Hälsingland have inspired her and the desolate landscape symbolizes Mamma Andersson's home and origin.
The painting
‘All They Had to Do Was Dream’ from 2001 has many similarities with ‘Skoldans’ and ‘Roliga Timmen’ from the year prior. The theme is growing up and relationships, especially female relationships. What does it mean to belong to a group, and what does it mean to be left out? Andersson draws on her own experiences as a woman and combines these with inspiration from literature and art. Each painting can be said to be a self-portrait in some form. Andersson is always looking for inspirational images of places, timeless landscapes, architectural or historical images that can become the building blocks of her work. There are no time markers such as cell phones, power lines or other details that would tie the subject to a particular period. Figures and parts of landscapes often recur in different variations. In the foreground of the current painting we see three young women, all looking away from the viewer. They seem to be moving away from the group of younger school children playing awkwardly behind them. In the background, the mountain rises in soft pastel colors. The painting is bathed in light, it seems to be winter even though the children are barefoot. The pale faces and the off-white ground contrast with the blackness of the jackets and hats. The three young women seem to belong to a group, united by appearance, age and dress, but we sense that something has happened and that they are moving apart, each in their own world. The motif of the three young women is derived from a photograph and appears in the artist's cycle over time, first in the painting ‘The Friend’ from 1976. There they appear in front of a northern landscape in red and black. The same landscape in a darker version reappears in the 2020 painting ‘Dagen Efter’.
The early 2000s was a time when representational painting began to revive, as evidenced by the major art fairs around Europe. Andersson's form of expression was right on time, her participation in the Venice Biennale had a major impact and she was picked up by world-leading galleries in London and New York. In the same year, 2006, she received the Carnegie Art Award's first prize, thus laying the foundation for her future career.
286. Mamma Andersson (Sweden, 1962–) 'All They Had To Do Was Dream'. Signed Karin Mamma Andersson and dated 2001 verso. Oil on panel 122 x 122 cm.
Provenance: Konstlotteriet SAK, Sveriges Allmänna Konstförening, lottery prize no 5, 2001. Private Collection, Stockholm.
Exhibitions: SAK, 2001. Norrköpings konstmuseum, 'Helmer Osslund & Karin Mamma Andersson', 28 February–3 May 2009.
Estimate: SEK 1 000 000 – 1 200 000 / EUR
88 270 – 105 920 (d)
287. Sten Eklund (Sweden, 1942–2009) 'Bordet'.
Signed SE. Executed in 1971. Oil on plexi glass 73 x 94 cm.
Provenance: Art for the Globe Collection.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
288. Rita Lundqvist (Sweden, 1953–) Untitled.
Signed Rita Lundqvist and dated 89 verso. Panel 15 x 23 cm.
Provenance: Rooseums Konsthall, Malmö.
Anders Tornberg, Lund.
Private Collection.
Exhibitions: Rooseums Konsthall, Malmö, 'Made in Sweden', 1989.
Estimate: SEK 70 000 – 90 000 / EUR 6 180 – 7 950 (d)
289. Mats Gustafson (Sweden, 1951–) Untitled.
Signed Mats. Watercolour, image 56.7 x 38.5 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 530 – 4 420 (d)
290. Roj Friberg (Sweden, 1934–2016) 'Meeting'.
Signed Rf and dated–95. Mixed media on paper mounted on cardboard 85 x 105 cm.
Provenance: Galleri Agardh & Tornvall, Stockholm.
Literature: Lars Nygren (red.), 'Roj Friberg–Sveriges Allmänna
Konstförenings årsbok 2010', compare p. 102.
Estimate: SEK 35 000 – 40 000 / EUR 3 090 – 3 530 (d)
291. Johan Thurfjell (Sweden, 1970–) 'Cairn'.
Executed in 2018. Gipsum and papier-mâché. Height circa 55 cm.
Provenance: Galerie Nordenhake, Stockholm.
Exhibitions: Galerie Nordenhake, Stockholm, 'The First Sculpture / Johan Thurfjell', 11 January – 17 February 2018.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
291A. Håkan Rehnberg (Sweden, 1953–) Untitled.
Signed Håkan Rehnberg and dated 1998 verso.
Oil on acrylic glass 152 x 125 cm.
Provenance: Galerie Nordenhake, Stockholm.
Estimate: SEK 80 000 – 100 000 / EUR 7 190 – 8
292. Tommy Hilding (Sweden, 1954–) 'First blinding'.
Signed Tommy Hilding and dated 2006 verso. Canvas 40 x 60 cm.
Provenance: Galleri Magnus Karlsson, Stockholm. Acquired in 2010.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
293. Tommy Hilding (Sweden, 1954–) 'Noret' (Motiv från min hembygd i Gullspång, Norra Västergötland)'.
Signed Tommy Hilding and dated 2005 verso. Canvas 40 x 60 cm.
Provenance: Galleri Magnus Karlsson, Stockholm. Acquired in 2010.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
294. Astrid Svangren (Sweden, 1972–) Untitled.
Signed Astrid Svangren and dated 2012 verso. Mixed media collage 128.5 x 99 cm including frame.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
295. Ernst Billgren
1957–) 'Ren med ljuskrona'.
Signed EB. Mixed media on panel and glass in artist's frame 126 x 140 cm.
Provenance: Acquired from the artist by the present owner.
Estimate: SEK 200 000 – 250 000 / EUR 17 660 – 22 070 (d)
296. Torsten Andersson (Sweden, 1926–2009) Untitled.
Signed Torsten. Canvas 59 x 54 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 300 (d)
(Sweden,
Lena Cronqvist
At the beginning of the 1980s, girls appear as motifs in Lena Cronqvist's pictorial world, but it is mainly in the years 1990-1994 that little girls dominate the motifs. Usually it is not nice little girls that she depicts. At first glance, they may indeed resemble ideal images of children. However, they soon prove to be quite terrifying as they handle the various objects that have been slipping in and out of Cronqvist's paintings since the early 1970s. Like an echo from the past, memories, dreams and forbidden thoughts play out on her large canvases.
Cronqvist constantly returns to her childhood and the not entirely uncomplicated relationship with her parents and siblings. Her paintings of little girls are far from Carl Larsson's family idyll. They exude alienation, conflicted emotions and sometimes a recklessness that we don't usually associate with childhood. The canvases are filled with children: girls bathing, girls playing with dolls, girls trying to drown each other. They do all this without moving a muscle. Around 1993, Lena Cronqvist produced a number of unforgettable paintings of girls in water. The auction's painting 'Girl with Swan' creates an uncertainty about the child's mood: should the swan be strangled or given a kiss? Later, her girls also acquired a physical body when she started sculpting, the children were moulded in clay and bronze.
With curious eyes, Cronqvist's children explore the world without any adults present. Through innocent play, the child is moulded into the adult world, trained to handle social situations and relationships. It is in the borderlands of the psyche that Cronqvist moves with such skill. In her art, she has never avoided the taboo, but instead eagerly explores topics such as grief, anger, death and abandonment. Through her personal art, she gives us universal images in which we can all mirror ourselves.
297. Lena Cronqvist (Sweden, 1938–) 'Flicka med svan'.
Signed L Cronqvist and dated 1993. Oil on canvas 180.5 x 168 cm.
Provenance: Bukowski Auktioner, Moderna vårauktionen 515, May 2000, lot 434.
Estimate: SEK 450 000 – 500 000 / EUR 39 720 – 44 130 (d)
Signed Jockum and dated 1999 verso. Canvas 64 x 46 cm.
Provenance: Art for the Globe Collection.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
298. Jockum Nordström (Sweden, 1963–) 'Kyparen'.
Executed in 2022. Painted wood, 186 x 25 x 25 cm including pedestal.
Provenance: Björkholmen Gallery, Stockholm.
Exhibitions: Björkholmen Gallery, Stockholm, 'Hans Isaksson The Silence/ Tystnaden', 22 January–5 March 2022.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
300.
Untitled.
Signed Rolf Hanson and dated 2013 verso. Oil on panel 184 x 110 cm.
Provenance: Galleri Hedenius, Stockholm.
Estimate: SEK 200 000 – 250 000 / EUR 17 660 – 22 070 (d)
299. Hans Isaksson (Sweden, 1962–) 'SabotAge (Familjen) I'.
Rolf Hanson (Sweden, 1953–)
301. Erik Jeor (Sweden, 1974–) 'Dadel Doom'.
Signed Erik Jeor and dated 2007 verso. Watercolour and pigment, image 160 x 113 cm.
Provenance: Knäpper + Baumgarten Gallery, Stockholm. Private Collection, Stockholm.
Exhibitions: Knäpper + Baumgarten Gallery, Stockholm, 'Monstrum', 2007.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
302. Peter Frie (Sweden, 1947–)
Signed P Frie verso. Oil on canvas 190 x 260 cm.
Estimate: SEK 175 000 – 200 000 / EUR 15 450 – 17 660 (d)
Untitled.Image removed due to copyright
303. Öyvind Fahlström (Sweden, 1928–1976) Elements for Meatball Curtain.
Signed Öyvind Fahlström and dated -70. Acrylic and India ink on paper 37.5 x 46 cm.
Provenance: Bukowskis Auktioner, Vårens Contemporary auktion 567, 2013, lot 437.
Private Collection
Exhibitions: MACBA, Barcelona, 'Öyvind Fahlström', 17 October - 8 January 2001.
Fondazione Ragghianti, Lucca, Italy, 'Öyvind Fahlström', 18 March - 15 May 2001.
Massachusetts Museum of Contemporary Art, 'Öyvind Fahlström', 16 June - 21 October 2001.
Institut d'Art Contemporain, Lyon, 'Öyvind Fahlström', 15 February - 26 May 2002.
BALTIC, Gateshead, Storbritannien, 'Öyvind Fahlström', 7 September - 24 November 2002.
Literature: Sharon Avery-Fahlström, Eva Schmidt and Udo Kittelmann e.a, 'Öyvind Fahlström. Die Installationen/The Installations', 1995, compare images p. 57 and 70-71.
Jean-Francois Chevrier e.a, 'Fahlström - Another Space for Painting', 2001, illustrated full-page in colour p. 231. Also illustrated (detail) p. 238, 241 and 243.
Estimate: SEK 500 000 – 600 000 / EUR 44 130 – 52 960 (d)
Marie-Louise Ekman
At this auction, Bukowskis has the pleasure of presenting a large section of works by the esteemed artist Marie-Louise Ekman. Marie-Louise Ekman is undoubtedly one of the most idiosyncratic artists in Swedish contemporary art, with a range that is almost unique in a Swedish context. She uses a distinctive language in works that manage to combine socially critical points with a timeless expression that makes the works constantly relevant. There are often art historical references mixed with elements of popular culture.
Ekman imaginatively illustrates our everyday environments and situations and makes them her own. In an experimental way, she combines the absurd and surreal in a recognisable scene, whether it is about loneliness, sexuality, death or power relations - all filtered through a sometimes slightly absurd humour.
Ekman's art has been very much characterised by her anarchic and clear-sighted attack on normality, which has constantly manifested itself in her art, whether it be film, assemblage, painting, sculpture or manuscripts. It was not without reason that her exhibition at Tensta konsthall in 2012 was titled 'Göra som man vill/Do as you please'. As a young art student, she broke all taboos and notions of what it means to be a woman and an artist. This approach contributed to her involvement in the influential underground magazine 'Puss' in the 1960s and 70s. From there, she moved on to galleries such as Heland-Wetterling, where she had her public breakthrough in 1973, and Knäpper Gallery, later becoming rector of the Royal Swedish Academy of Fine Arts and one of the most popular Dramaten directors of all time.
Ekman's strong visual language was formed in the seventies and she has stuck to it ever since. To a large extent, she has remained faithful to a certain set of characters that she has used repeatedly over the decades, such as Donald Duck, Lisa (from the Lisa & Sluggo series), a lady with blonde hair and a swaddled infant. In skewed central perspectives, she places them in narrow, well-defined spaces. Often the figures transform before our eyes, a lady becomes a monkey who becomes a man who eventually becomes a bird. The shadows of the characters break free and take on a life of their own. Ekman's figures are often placed on pedestals and become monuments against the backdrop of paintings by Baertling, Picasso and Dali.
In 2017, an acclaimed retrospective of nearly 350 works by Ekman was shown at Moderna Museet, and in autumn 2025, Marie-Louise Ekman will have a major exhibition at the Royal Swedish Academy of Fine Arts in Stockholm.
304.
Signed M.L Ekman and dated 1999. Oil and assemblage on canvas in artist's frame 40 x 35.5 cm.
Provenance: Acquired directly from the artist.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
305.
Signed M.L Ekman and dated 1999. Oil on canvas in the artist's frame 61 x 52.5 cm.
Provenance: Acquired directly from the artist.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
Marie-Louise Ekman (Sweden, 1944–) 'Dam med nycklar och skor' .
Marie-Louise Ekman (Sweden, 1944–)
'The Philosopher and the poet och bröst, näsa, mun' .
306. Marie-Louise Ekman (Sweden, 1944–) Untitled.
Signed ML Ekman and dated 1996. Assemblage in plexi box 25.5 x 25.5 x 25.5 cm.
Provenance: Acquired directly from the artist.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
307. Marie-Louise Ekman (Sweden, 1944–) 'Seven heads, arms, breasts, joints and hands'.
Signed M. L Ekman and dated 2008. Oil on canvas 51 x 70.5 cm.
Provenance: Angelika Knäpper Gallery, Stockholm.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
308. Marie-Louise Ekman (Sweden, 1944–) 'Ett baby-monument och en Olle Baertling-tavla'.
Signed M.L De Geer Bergenstråhle and dated 1980. Gouache on silk in artist's frame 40 x 31 cm.
Provenance: Galerie Aronowitsch, Stockholm. Private Collection.
Exhibitions: Galerie Aronowitsch, Stockholm, 'Marie-Louise Ekman', 12–30 April 1980, cat. no. 6.
Literature: Maria Lind, 'Svensk Nutidskonst 4: Marie-Louise Ekman', 1994, illustrated p. 16.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
309. Marie-Louise Ekman (Sweden, 1944–) 'The Mino School of Facial Expressions'. Executed in 1971. Later signed ML Ekman and dated 2019 verso. Gouache and watercolour on canvas 41 x 49.5 cm including frame.
Literature: 'Marie-Louise Ekman', 1998, mentioned p. 61, illustrated p. 65. Marie-Louise Ekman, 'This is not an answer: On the work of Marie-Louise Ekman', 2013, illustrated full-page p. 176–177.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
310. Marie-Louise Ekman (Sweden, 1944–) 'Utforskande penna-monument, Picasso-dam och en Olle Baertling-målning'.
Signed M.L De Geer Bergenstråhle and dated 1981. Gouache on silk 42 x 32 cm including frame.
Provenance: The Artist's Collection. Bohman-Knäpper, Stockholm.
Exhibitions: Bohman-Knäpper, Stockholm, 'Monument 1981', 17 February–18 March 2018.
Literature: Galleri Bohman-Knäpper, Stockholm, exhibition catalogue, 'Monument, 1981, M.L Ekman', 2018, illustrated.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
313. Marie-Louise Ekman (Sweden, 1944–) Untitled.
Signed M. L Ekman and dated 2003. Canvas in artist's frame 84 x 112 cm.
Provenance: Acquired directly from the artist.
Estimate: SEK 40 000 – 50 000 / EUR 3 530 – 4 420 (d)
311. Marie-Louise Ekman (Sweden, 1944–) 'Lejontämjerskan'.
Signed ML De Geer and dated 1967. Canvas 69 x 70 cm.
Provenance: Stockholms Auktionsverk, Moderna, 11 June 2020, lot 1323.
Estimate: SEK 40 000 – 50 000 / EUR 3 530 – 4 420 (d)
312. Marie-Louise Ekman (Sweden, 1944–) 'Fru Vennermans avsked i Malmö'.
Signed and dated 1995 with dedication on the frame's verso. Gouache on silk in artist's frame 25.5 x 20.5 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
314. Marie-Louise Ekman (Sweden, 1944–) Untitled.
Signed M.L Ekman and dated 1996. Assemblage in plexi box 25.5 x 25.5 x 25.5 cm.
Provenance: Acquired directly from the artist.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
Signed ML Ekman and dated 1999. Oil and assemblage on canvas in artist's frame 40 x 37.5 cm.
Provenance: Acquired directly from the artist.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
Signed ML De Geer Bergenstråhle and dated 1080. Gouache on silk 28.7 x 19.7 cm.
Provenance: Stockholms Auktionsverk, Moderna Kvalitén, 23 April 2008, lot 1209. Private Collection, Stockholm.
Estimate: SEK 40 000 – 60 000 / EUR 3 550 – 5 320 (d)
315. Marie-Louise Ekman (Sweden, 1944–) 'Dam med skor och näsduk' .
316. Marie-Louise Ekman (Sweden, 1944–) Man och Olle Baertling målning.
317. Marie-Louise Ekman (Sweden, 1944–) Monument med Olle Baertling målning.
Executed in 1981. Signed ML Ekman in 2007. Triptych. Gouache on silk, each 30 x 21 cm. Framed together 32.5 x 67 cm.
Provenance: Acquired directly from the artist.
Estimate: SEK 80 000 – 100 000 / EUR 7 100 – 8 870 (d)
318. Marie-Louise Ekman (Sweden, 1944–) 'Uccello malato con becco giallo (smooth)'.
Signed ML Ekman and dated 2002. Numbered 8/8. Glass. Length 35 cm, height 10 cm. A signed certificate published by Berengo Fine Arts accompanies the lot.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
319. Marie-Louise Ekman (Sweden, 1944–) 'Skrivande fågel'.
Signed M.L Ekman and dated 1999. Acrylic, hair, feather and bird on canvas 30.5 x 50 cm.
Provenance: Galerie Aronowitsch, Stockholm.
Exhibitions: Galerie Aronowitsch, Stockholm, 'Marie-Louise Ekman', September 1999.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
320. Marie-Louise Ekman (Sweden, 1944–) Untitled.
Signed M.L De Geer and dated 1967. Oil on canvas 66 x 55 cm.
Provenance: Bukowski Auktioner, 10 September 2012.
Exhibitions: Moderna Museet, Stockholm, 'Marie-Louise Ekman', 17 June - 17 September 2017.
Estimate: SEK 40 000 – 50 000 / EUR 3 530 – 4 420 (d)
322.
Signed Marie-Louise Ekman and dated 2019. Mixed media on canvas in plexibox. Canvas 33 x 39 cm, box 42.5 x 48.5 cm.
Provenance: Bohman-Knäpper, Stockholm.
Exhibitions: Galleri Bohman-Knäpper, Stockholm, 'Marie-Louise Ekman', 10 October–10 November 2019.
Estimate: SEK 100 000 – 125 000 / EUR 8 830 – 11 040 (d)
321. Marie-Louise Ekman (Sweden, 1944–) 'Thirty two lady heads'.
Signed M. L Ekman and dated 2008. Oil on canvas 50 x 70.5 cm.
Provenance: Angelika Knäpper Gallery, Stockholm.
Literature: Angelika Knäpper Gallery, 'Marie-Louise Ekman', 2008, illustrated.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
Marie-Louise Ekman (Sweden, 1944–) 'Spegeldam (Hommage á Lucio Fontana)'.
323. Marie-Louise Ekman (Sweden, 1944–) 'Tid min tid'.
Signed M.L Ekman and dated 2001. Assemblage in an acrylic box 79 x 19 cm.
Provenance: Acquired directly from the artist.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
324. Marie-Louise Ekman (Sweden, 1944–) Untitled.
Signed MLDGB and dated 1989. Gouache on silk 28.5 x 38.5 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
325. Marie-Louise Ekman (Sweden, 1944–) Untitled.
Signed Marie-Louise Ekman and dated 1989 verso. Painted metal, height 36 cm, width 22 cm.
Provenance: The newspaper Expressen's theater prize ‘En bit av Georges hatt’ 1989. Charles Koroly (1946-2017) scenographer at the Royal Dramatic Theater, Stockholm. Private Collection.
Estimate: SEK 35 000 – 40 000 / EUR 3 090 – 3 530 (d)
325A. Marie-Louise Ekman (Sweden, 1944–) a carpet /tapestry, 'Utan titel' ('untitled') flat weave and knotted pile, c 206 x 160 cm, signed AB MMF MLE.
(AB Märta Måås-Fjetterström, Marie-Louise Ekman). Textile Artwork of the Year 2002 for AB Märta Måås-Fjetterström. Made in a unique edition by the weaver Birgit Svensson
Exhibitions: Märta Måås-Fjetterströms studio, Båstad, Agardhsgatan, 2002. The Swedish Consulate, One Dag Hammarskjöld Plaza, New York, 2002.
Liljevalchs konsthall, Stockholm, 'Märta flyger igen! 90 år med Märta Måås-Fjetterström', 2 October 2009 - 6 January 2010.
Literature: Märta Måås-Fjetterström, Angelica Persson, "Märta flyger igen! : 90 år med Märta Måås-Fjetterström", 2009, illustrated on plate in colour p. 20.
Estimate: SEK 150 000 – 200 000 / EUR 13 500 – 18 000 (d)
326. Torsten Andersson (Sweden, 1926–2009) Untitled.
Signed Torsten. Probably executed in 1975. Canvas 24.5 x 24.5 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
Karin Broos
The models in Karin Broos' paintings are usually drawn from her immediate family, such as her daughters and grandchildren. The seemingly mundane situations are often ambiguous and charged with undertones of contemplation.
Broos uses her own photographs as inspiration and memory support in a laborious artistic process. It is a female world that Broos depicts, women, children and dogs in a frozen moment. Their faces are often turned away, their task is not to meet the viewer's gaze, and their bodies are not depicted to please the art audience. Broo's models are allowed to be themselves. Immersed in their own thoughts, they give a relaxed and confident impression. No doubt the artist's close relationship with his models plays a large part in this.
In the painting 'Berlin 2', Broos has depicted one of her daughters while they are visiting Berlin. The scene is from the Hall of Mirrors in Clärchen's Ballroom at Auguststrasse 24 in Berlin, which is now a tourist attraction. Opened in 1913 by Clara and Fritz Bühler, the ballroom was first called 'Bühler's Tanzhaus', but quickly became known as 'Clärchen's'. The socialites enjoyed themselves in the hall of mirrors while the common people in the dance hall. For more than 100 years, 'Clärchen's' has been entertaining Berliners and is today one of the few remaining dance halls from the early 20th century.
Karin Broos got her breakthrough quite late in her career with an exhibition at Kristinehamn Art Museum in 2008, which was followed by exhibitions at Borås Art Museum, Christian Larsen Gallery, Sven Harry's Art Museum and Waldemarsudde in Stockholm. She has said that she is grateful that it took so long, the family and the work developed hand in hand.
Karin Broos studied at the Royal Academy of Fine Arts in 's-Hertogenbosch in the Netherlands between 1970 and 1975. The artist has described how she had previously been a searching soul and how she felt she had found the right place in the harsh discipline of the art school. The days were filled with drawing and modeling in the old tradition, and after each academic year there was an evaluation and selection of students. There was a constant striving for perfection. After graduation, the longing for Swedish nature and a simpler life was strong. Together with her husband Marc they found a house in Värmland where they settled down. For a while after graduation, Broos painted excessively roughly to distance himself from perfection. After a period of abstract painting, Karin Broos turned to photo-realistic art late in life.
327. Karin Broos (Sweden, 1950–) 'Berlin 2'.
Executed in 2013. Acrylic on canvas 200 x 140 cm.
Provenance: Christian Larsen, Stockholm.
Exhibitions: Strandverket, Marstrand, 'Karin Broos–Minnesmärken', 23 June–28 September 2014. Prins Eugens Waldemarsudde, Stockholm, 'Still Life', 10 October 2015–21 February 2016. Liljevalchs konsthall, Stockholm, 'Karin Broos, Svart sol', 2 June–27 August 2023.
Literature: Strandverket, 'Karin Broos–Minnesmärken', exhibition catalogue, 2014, illustrated full-page p. 40. Liljevalchs konsthall, Stockholm, 'Karin Broos, Ögonblick av liv', 2023, illustrated full-page.
Estimate: SEK 400 000 – 500 000 / EUR 35 310 – 44 130 (d)
Signed
Provenance: Galleri Andersson/Sandström, Stockholm.
Exhibitions: Galleri Andersson/Sandström, Stockholm, 'Walls of paper', 13 November–19 December 2008.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
Signed Andreas Eriksson and dated Medelplana 2009 verso.
Acrylic and oil on MDF 37 x 30 cm.
Provenance: Galleri Arnstedt, Östra Karup.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
331. Ola Billgren (Sweden, 1940–2001) 'Blommor i mörkret VII'.
Signed Ola Billgren and dated–96 verso. Canvas 102 x 125 cm.
Provenance: Acquired from the artist or from Galerie Leger, Malmö. Thence by descent to the present owner.
Literature: Douglas Feuk and Anne Ring Petersen, 'Ola Billgren–Måleri/Paintings', 2000, compare illustration p. 319.
Estimate: SEK 500 000 – 600 000 / EUR 44 130 – 52 960 (d)
332. Peter Frie (Sweden, 1947–) Untitled.
Signed Peter Frie and dated–01 verso. Oil on panel in artist's frame 37.5 x 41.5 cm.
Provenance: Lars Bohman Gallery, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
332. Matts Leiderstam (Sweden, 1956–) ‘Björn’.
From the series 'Herdarna'. Stoneware. Height 24 cm.
Catalogue accompanies the work.
Provenance: Andrén-Schiptjenko, Stockholm.
Exhibitions: Mölndals Art Gallery, 'Herdarna/ The Shepherds', 16 April - 15 May 1994. Sandvikens Art Gallery, 'Herdarna/ The Shepherds', 3 September - 2 October 1994. Olle Olsson House, Solna, 'Herdarna/ The Shepherds', 12 November - 11 December 1994.
Literature: Matts Leiderstam, Annika Öhrner, 'The Shepherds - an exhibition by Matts Leiderstam', 1994, illustrated.
Estimate: SEK 8 000–10 000 / EUR 719– 899 (d)
Mamma Andersson
The title 'Storverk' (Masterpiece) refers to the painting within the painting, depicted on the easel. It is a section of the work 'The blank memories always open from the south' from 2002. The whole work, a repetition in four sections which was shown at the Venice Biennale in 2003, has a length of 280 cm. The title is ambiguous, it also refers to the depicted city 'Mandu' also called 'City of Joy' in the state of Madhya Pradesh in Central India. Mandy was founded around 600 BC and is today a wellpreserved ghost town, glorified and romanticised. A 45 km long fortified wall surrounds the city's palaces and mausoleums. Mamma Andersson saw a photograph of Mandu - she found it in an old book about India, which inspired her to do the painting. Mamma Andersson has said that we are surrounded by 'memory gaps' in the form of buildings or objects, a kind of memory bank around us. Sometimes we experience a memory gap opening, only to quickly close again, sometimes archaeologists can unearth an entire community.
‘I remember so well when I painted this one. It took one or at most two days. It was late August and probably forty degrees in my studio in Örnsberg. I couldn't close the curtains, it was southfacing and I was wearing panties and a tank top. I remember the canvas came from Dramaten, a friend had given it to me. It had a dry absorbent primer and the oil spread on the surface. I painted with traditional oil paints, sprayed with solvent, and then I swept with a soft brush to get the shadows. It was difficult but fun. Very nice canvas to paint on, unusual.’
333. Mamma Andersson (Sweden, 1962–) 'Storverk'.
Signed Mamma Andersson and dated 2002 verso. Oil on panel 63.5 x 80.5 cm.
Provenance: Galleri Magnus Karlsson, Stockholm. Acquired in 2003.
Estimate: SEK 500 000 – 700 000
334. Astrid Sylwan (Sweden, 1970–) 'Out of the Woods'.
Signed Astrid Sylwan and dated 2007 verso. Acrylic on canvas 122 x 115 cm.
Provenance: Galleri Andersson/Sandström, Stockholm.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
335. Lotta Hannerz (Sweden, 1968–) 'Ah?'.
Signed Lotta Hannerz and dated 2007 verso. Canvas 130.5 x 161.5 cm.
Provenance: Knäpper+Baumgarten, Stockholm Private Collection, Stockholm. Bukowski Auktioner, Vårens Contemporary 592, 18 May 2015, lot 149. Private Collection, Stockholm.
Exhibitions: Knäpper+Baumgarten, Stockholm, 'Lotta Hannerz 110%', 23 August–23 September 2007.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
336. Carl Fredrik Reuterswärd (Sweden, 1934–2016) 'Non Violence'.
Signed CFR and numbered 63/75. Patinated bronze and stone base 24 x 34 x 10 cm including base. A certificate from Non-Violence Project Foundation accompanies the lot.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
337. Lars Lerin (Sweden, 1954–) Untitled. Signed Lars Lerin and dated 2017. Watercolour, image 77 x 55 cm.
Estimate: SEK 150 000 – 175 000 / EUR 13 240 – 15 450 (d)
338. Torsten Andersson (Sweden, 1926–2009) 'Björken'.
Signerad Torsten och daterad -66. Olja på duk 43 x 43 cm.
Provenance: Galerie Burén, Stockholm.
Exhibitions: Galerie Burén, Stockholm, exhibition 32, December 1966, cat. no. 9.
Estimate: SEK 40 000 – 50 000 / EUR 3 530 – 4 420 (d)
339. Jan Håfström (Sweden, 1937–) 'Diana Palmer'. Executed 2005–2010. Polyptych. Acrylic on panel in artist's frame, each 127 x 127 cm.
Literature: Jan Håfström and Ingela Lind,'M/S Siddharth Enterprises', Bomuldsfabriken Kunsthall, 2016, illustrated p. 90-91.
Estimate: SEK 300 000 – 400 000 / EUR 26 480 – 35 310 (d)
Exhibitions: Galleri Mejan, Stockholm, 1992. Art for the Globe Collection.
Estimate: SEK 200 000 – 300 000 / EUR 17 660 – 26 480 (d)
340. Mamma Andersson (Sweden, 1962–) 'Sportstugan'. Signed Mamma Andersson and dated 1990 verso. Oil on canvas 128 x 146 cm.
Ernst Billgren
Lars Bohman Gallery started the new season 2002 with a double exhibition by Ernst Billgren. The first part, named ‘Ordinary Exhibition’ consisted of new works: painting, sculptures, photographs, mosaic, silver jewelry, and pieces of design furniture. A door in the inner room led to the second exhibition ‘The Ordinary Transformed’, marketed as ‘for adults only’. Works from ‘The Ordinary Exhibition’ reappeared transformed with elements of sex and violence as a strong undercurrent.
The painting offered at this auction was created for and exhibited at Lars Bohman in 2002 together with the work 'Hemläxa' by Billgren. The two paintings are in dialogue and mirror each other in size, decorative frame and motif. ‘Hemläxa’ vas shown in the ‘Ordinary’ exhibition while the painting for sale in this auction is the transformed version from the ‘adultonly‘room. In the painting three foxes in elegant renaissance dress are acting out a scene both scary and unpleasant if it was not so absurd. The clash between nature and culture, painterly realism and abstraction
takes the edge off the violence and brings the scene back to the word of fantasy and contemporary computer game aesthetics. The inspiration reflected in Billgren's art comes from a variety of sources also including the Grimm brothers' fairy tales, childhood fantasies, comic book fiction, Nordic nature painting and the world of Lucas Cranach the Elder.
Bukowskis is proud to present, in this auction, two more works by Ernst Billgren from the above mentioned show at Lars Bohman in 2002; the sculpture 'Vildsvinsmöte' and the mosaic interpretation of a wild boar hunting trophy.
341. Ernst Billgren (Sweden, 1957–) ‘Bakläxa’.
Signed EB. Oil on panel in artist's frame with mosaic and bronze 213 x 128.5 cm.
Provenance: Lars Bohman Gallery, Stockholm.
Exhibitions: Lars Bohman Gallery, Stockholm, 'Ernst Billgren', September 2002.
Estimate: SEK 200 000 – 300 000 / EUR 17 660 – 26 480 (d)
342. Oskar Korsár (Sweden, 1977–) 'Ute'.
Signed Oskar Korsár. Ink on paper 44 x 60 cm.
Provenance: ALP Galleri Peter Bergman, Stockholm.
Exhibitions: Moderna Museet, Stockholm, 'Modernautställningen', 18 February–7 May 2006.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
343. Lena Cronqvist (Sweden, 1938–) 'Rökrummet'.
Signed Lena Cronqvist and dated 1971. Oil on canvas 120 x 115 cm.
Provenance: Konstakademien, Stockholm. Art for the Globe Collection.
Exhibitions: Liljevalchs konsthall, Stockholm. Museet Kulturhuset, Borås. Bror Hjorts Hus, Uppsala, 'Konstsalong 70-tal', 4 December 2021 – 30 January 2022.
Literature: SAK, "Lena Cronqvist", 2003, illustrated p. 45.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
344. Ernst Billgren (Sweden, 1957–) 'Vildsvinsmöte'.
Signed with monogram EB and numbered 1/1 AP. Executed in 2002, edition 3 + 1AP. Bronze with gilded details. Height 48 cm, length 53 cm.
Provenance: Lars Bohman Gallery, Stockholm.
Exhibitions: Lars Bohman Gallery, Stockholm, 'Ernst Billgren', September 2002.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
345. Björn Wessman (Sweden, 1949–) 'Papuan Boathouse'.
Signed Björn Wessman and date 2013 verso. Canvas 140 x 200 cm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
Torsten Andersson
Susanna Slöör, art critic and writer, wrote about the exhibition at Brändström & Stene in 2006/2007:
‘Torsten Andersson's (born 1926) peculiar object painting has deliberately navigated between the suffocating demands imposed on art in general and painting in particular. In connection with his return in the mid-1980s after twenty years of silence, he spoke about the importance of formulating a 'third way' between exhausted modernism and selfnegating postmodernism. The portraits of fictional sculptures that he has presented since then take shape as distinctive containers. Symbolically, one can see them as metaphors for the unfathomable content of language, humanity, and art. ‘The sculpture is bleeding,’ Andersson adds as an encouraging guide to his exceptionally elusive world. The formats are large, the drawing is powerful and simply executed directly on the carelessly stretched canvases. The colors, in turn, are few and fiercely juxtaposed in their unprocessed state. Here at the exhibition, red clashes with blue in a symbolically charged encounter between the red plank and the blue drops of blood.
Through snippets of text on the canvas, we learn that a plank in a Carl Larsson painting is the starting point for several of the latest paintings on
display at Brändström & Stene. The 'Falun red' backyard is colored blue by a blood-colored shadow. It is the true color of the 'creative person's blood', of which a drop is worth a monument in itself, according to another painting. The creative person's torment is then revealed as the blood is filtered through a blood vessel equipped with a knife 'like in a Swedish meat grinder'. One can assume that the exaggerated rhetoric should not be interpreted too literally and therefore does not imply that the artist is particularly noble or more thin-skinned than anyone else, but rather that the symbolism is more of a nonsensical nature. The signs simply fit well into the form.’
346. Torsten Andersson (Sweden, 1926–2009) 'Monument med droppe av blått blod. Den kreativa människans blod'.
Signed Torsten verso. Executed in 2006. Canvas 151 x 130 cm.
Provenance: Brändström & Stene, Stockholm. Private Collection, Stockholm.
Exhibitions: Moderna Museet, Stockholm, 'Modernautställningen', 18 February - 7 May 2006.
Brändström & Stene, Stockholm, 'Torsten Andersson', 24 November 2006 - 7 January 2007 .
Estimate: SEK 250 000 – 300 000 / EUR 22 070 – 26 480 (d)
Untitled. Signed Jan Håfström and dated 2007. Acrylic on panel 100 x 100 cm.
Estimate: SEK 100 000 – 150 000 / EUR 8 830 – 13 240 (d)
Signed Ulf Rollof and dated 2021. Acrylic and floatglass with rounds of 9 mm revolver shots 39 x 59 cm.
Estimate: SEK 35 000 – 40 000 / EUR 3 090 – 3 530 (d)
347. Jan Håfström (Sweden, 1937–)
348. Ulf Rollof (Sweden, 1961–) ‘Sun’.
Rolf Hanson
Throughout history, staircases have frequently appeared as motifs in both painting and photography. The staircase that Rolf Hanson uses as the starting point for his award-winning study ‘Runtom trappa’ is located in Montigny-sur-Loing, France. It is a stone staircase that also appears in one of Carl Fredrik Hill's most famous paintings from 1876. Hanson's paintings are executed with varying degrees of perspective and spatial depth, but it is primarily his skillful color treatment and rich palette that make them so appealing. The warmth of the colors radiating from the image and can thaw any frozen heart.
Hanson's endeavor to dissolve the space and deconstruct his subject means that something as mundane as a staircase can be depicted time and again without the image becoming less interesting, not least because of his fantastic ability to create balanced compositions. These repetitions enhances the subject as Hanson delves into the theme and tests different approaches to the motif. The staircase as a motif is often used to enhance distance or mark depth in the image. Here it is seen from below, allowing Hanson to take full advantage of the play of light over the steps, the illuminated horizontal surfaces, and the shaded front edges. This perspective expands the depth of the image and the direction helps the viewer to enter the scene. The paintings in the series "Runtom trappa" are images that one does not merely view but experiences, as their size seems to envelop the observer. The interplay between the image surface and the pictorial space creates tension in the image and truly demonstrates Hanson's great professional skill, as he handles both brush and palette knife with finesse.
Magnus Jensner at Dunkers kulturhus describes the series "Runtom trappa" in the book published in conjunction with Hanson's exhibition in Helsingborg. He writes the following about the painting in the auction: "The painting that stands out from the others is number VIII. Here we have come much closer to the staircase, which almost fills the entire image, but once at the crest, the picture opens up to a landscape beyond. An evening sky is visible above the vegetation and the hinted building beyond the stair's crest. In the staircase, the color-play behaves differently depending on how one chooses to perceive it. With the staircase's perspective, one sees it as if the color is flowing, moving down the stairs. If one tries to turn the staircase up towards the picture plane, or simply chooses to view the height of the steps as a surface, it becomes a color plane in dialogue with the surrounding areas of gray."
349. Rolf Hanson (Sweden, 1953–) 'Runtom trappa VIII'.
Signed Rolf Hanson and dated 2002 verso. Panel 140 x 127.5 cm.
Provenance: SAK, first prize 2002. Bukowski Auktioner, Contemporary & Design 561, 18 May 2011, lot 483. Private Collection, Stockholm.
Exhibitions: Dunkers kulturhus, Helsingborg, 'Rolf Hanson: Runtom hus/Around the house, Runtom trappa/Around the stair, Descendant/Remontant, Ombre portée, Superficie picturata', 2006.
Literature: AnnCatrin Gummesson och Magnus Jensner (red), 'Rolf Hanson: Runtom hus/Around the house, Runtom trappa/Around the stair, Descendant/Remontant, Ombre portée, Superficie picturata', Dunkers kulturhus, 2006, reproduced in colour on full-page p. 51.
Estimate: SEK 800 000 – 1 000 000 / EUR 70 610 – 88 270 (d)
350. Ernst Billgren (Sweden, 1957–) 'Abstrakt bord 2'.
Signed EB and numbered 3/3-I. Executed in 2012. Table with intarsia and bronze sculptures 99 x 138 x 31 cm.
Exhibitions: Lars Bohman Gallery, Stockholm, 'Abstrakt', 24 March–6 May 2012.
Literature: Lars Bohman Gallery, 'Ernst Billgren Abstrakt', 2012, illustrated p. 48–51.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060 (d)
351. Magnus “NUG” Gustafsson (Sweden, 1972–) 'Untitled'.
Signed NUG and dated 2014 verso. Spray paint on canvas 200 x 135 cm.
Provenance: Gallery Steinsland Berliner, Stockholm.
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180 (d)
352. Johan Furåker (Sweden, 1978–) A Poet in Need of an Empire IV.
Signed Johan Furåker and dated 2014. Oil on MDF shelf, four paintings on panel 35 x 85 x 23.5 cm.
Provenance: Galleri Ping-Pong, Malmö. Nordic Contemporary Art Collection, Stockholm. Private Collection, Stockholm.
Exhibitions: Galleri Ping-Pong, Malmö, 'Johan Furåker, A Poet In Need Of An Empire', 22 February–22 March 2014.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
353. Christine Ödlund (Sweden, 1963–) 'Mollusc'.
Gouache and pencil on paper 18 x 27 cm.
Provenance: Christian Larsen, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
354. Andreas Eriksson (Sweden, 1975–) 'Helsingborg 8/6 2000'.
Signed Andreas Eriksson and dated 2000 verso. Canvas 75 x 60 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
Öyvind Fahlström
In the 1950s, Swedish critics showed little interest in the poet and visual artist Öyvind Fahlström (1928-76). Significantly, Fahlström's first solo exhibition took place in Florence, and his first poems were published in a French magazine. But this oversight had an important exception, Ilmar Laaban, the critic, poet and translator who was seven years older. Laaban's network of contacts in surrealist and modern artist circles in France greatly favoured Fahlström's future career. In the early 1950s they were both driving forces behind the avant-garde art magazine Odyssé, where Fahlström would publish his concrete manifesto. Laaban would write the first insightful analyses of his friend's art in the international press. In Expressen he characterised Fahlström as "an alien octopus in the hydrosphere of the Swedish 1950s, which is otherwise mostly populated by wistful aquarium lionfish and safe village perches... the ink he secretes has the blackness of genuine black humour without the watering down that the concept has undergone in recent years."
Fahlström and Laaban also collaborated artistically on several occasions. An initial collaboration took place at the exhibition “Paroles Visibles” in 1955, at Galerie La Roue, with the work "Sur un poème d'Ilmar Laaban 1", ink and cado on metal paper. At the exhibition, organised by Edouard Jaguer, 23 international artists created works alongside as many renowned poets. They also collaborated on the book project “Rrosi Selaviste” 1957, in which Fahlström returned to his image composition from “Paroles Visibles” and Laaban wrote poetic language games with clear references to Marcel Duchamp. The book with Fahlström's cover and illustrations was published in a signed and numbered edition.
The month after “Paroles Visibles”, they participated in the major international Phases exhibition “Phases de l'art contemporain”, Galerie R. Creuze, Paris, 31 March - 26 April. (Catalogue as a supplement in Phases no. 2, 1955.) Fahlström, who was given his own room at the exhibition, exhibited his 12 m long work Opera; the painting on metal paper from “Paroles Visibles”, as well as a new larger work, a triptych on glass: "Sur un poème d'Ilmar Laaban 2". In a letter home to his aunt, the artist writes: “I am residing in almost solitary majesty in a small room, with the long drawing [Opera], the metal paper painting, and the painting on glass, the latter delicately and effectively placed against the light in a stand.” (6/4, 1955)
Laaban's surrealist poem in German is inserted into the three glass discs of the picture.
DAS GELÄCHTER SCHLINGT SEINEN RÜSSEL UM DEN MAGEN DES LICHTS
IN DEN HOHLRAUM DES RÜSSELS STECKT DAS LICHT SEINEN RÜSSEL
DIE RÜSSEL KÜSSEN EINANDER UND DONNERN UM DIE WETTE
Fahlström experimented with many different techniques, and with the new cado pens (a type of marker) he could draw on both metal paper and glass.
In the 1950s, Fahlström worked on developing a “relationship-spinning sign painting”. He wanted to “create a repertoire of more or less definite sign forms whose functions ... are determined as I use them”. Often form elements were allowed to live on and emerge in later periods. In creating the triptych on glass, Fahlström has designed a set of 22 sign elements, each of which indicates a letter in the author's poem. The formal alphabet is linked to the alphabet of letters and the artist follows the same approach as in the painting on metal paper. It is these character forms that are rotated and modulated on the three glass discs. The detailed painting on the glasses is done in ink and cado pen, and the artist has followed the lines of an equally detailed model on the other side of the glass. In a separate figure sketch [see photo **], the artist has drawn the various constituent forms and the letter they carry in their beating hearts. It is not unimportant in this context to note that it is the same set of character forms that recur in the artist's well-known series of works “Ade Ledic Nander 1 and 2”, 1955 - 57. (See the artist's own character catalogue in the MACBA catalogue "Another Space for Painting", Barcelona, 2001, pp. 82 - 83.)
Text by Teddy Hultberg355. Öyvind Fahlström (Sweden, 1928–1976)
'Sur un poème d’Ilmar Laaban 2'.
Executed in 1955. Triptych on glass, ink and cado 50 x 30 cm each.
Including frame 73.5 x 122 cm.
Provenance: Collection of Gies Pluim, acquired directly from the artist.
Bukowski Auktioner, Moderna Höstauktionen 517, 7 - 9 November 2000, lot 363.
Private Collection, Sweden.
Exhibitions: Galerie R. Creuze, Paris, 'Phases de l’art contemporain', 31 March - 26 April 1955.
Literature: 'Gegeben sind Reuterswärd, Fahlström, Duchamp', Sprengel Museum, 2022, mentioned in the exhibition catalogue.
Jean-Francois Chevrier et al., 'Fahlström - Another Space for Painting', 2000, illustrated p. 85.
Estimate: SEK 250 000 – 300 000 / EUR 22 070 – 26 480 (d)
Signed L Cronqvist and dated 1998. Egg-oil and tempera on canvas 110.5 x 145 cm.
Estimate: SEK 250 000 – 300 000 / EUR 22 070 – 26 480 (d)
357. Fruls Tilpo (Sweden, 1960–) 'Lyckans hjul'.
Signed Fruls Tilpo. Oil on canvas 95.5 x 145.5 cm.
Provenance: Galleri Kavalette, Uppsala.
Art for the Globe Collection.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
356. Lena Cronqvist (Sweden, 1938–) Untitled.358. Olli Lyytikäinen (Finland, 1949–1987) 'Sfinx'.
Signed Olli Lyyt and dated 1972. Watercolour, image 20.5 x 29 cm.
Provenance: Galerie Forsblom, Helsinki.
Art for the Globe Collection
Exhibitions: Cheap Thrills, Helsinki, 'Three Pyramids and the Sphinx', 1974.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
359. Olli Lyytikäinen (Finland, 1949–1987) 'Self-portrait'.
Signed Olli Lyyt and dated 1974. Watercolour, image 30.5 x 40.5 cm.
Provenance: Galerie Forsblom, Helsinki.
Art for the Globe Collection.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
360. Andreas Eriksson (Sweden, 1975–) 'Scape (Reflection)'.
Signed Andreas Eriksson and dated 2006 verso. Oil on MDF 40 x 29 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
361. Ola Billgren (Sweden, 1940–2001) 'Terrain Vague'.
Signed Ola Billgren and dated 1987 verso. Canvas 190 x 265 cm.
Provenance: Acquired at Art Cologne, Galleri Engström, Stockholm. Private Collection, Germany. Bukowski Auktioner, Moderna Vårauktionen 535, 26–29 April 2005, lot 543. Private Collection. Bukowski Auktioner, Vårens Contemporary 567, 23 May 2012, lot 461. Private Collection.
Exhibitions: Rooseum, Malmö, 'Ola Billgren–a retrospective', 14 May–4 August 1991. Moderna Museet, Stockholm, 'Ola Billgren–a retrospective', 26 October–8 December 1991. Kunstforeningen, Köpenhamn, 'Mörkrets lys, Nordisk kunst genom 100 år', 1996.
Literature: Ola Billgren, 'Album, Ola Billgren–en retrospektiv, Vol.1', 1991, illustrated p. 111. Hans Johansson, 'Svensk Nutidskonst 3–Ola Billgren', 1993, illustrated full-page pl. 26. 'Mörkrets lys, Nordisk kunst genom 100 år' Kunstforeningen, Copenhagen, 1996, illustrated in the catalogue p. 29. Douglas Feuk and Anne Ring Petersen, 'Ola Billgren -Måleri', 2000, illustrated full-page colour p. 52-53..
Estimate: SEK 1 800 000 – 2 000 000 / EUR 158 870 – 176 530 (d)
12% Import VAT will be charged on the hammer price on this lot.
Signed G.K and dated 2010 and numbered 3/5.
Total edition of 5 + 1 AP. Wood, 79 x 37 x 87 cm.
Provenance: Galerie Nordenhake, Stockholm.
Exhibitions: Galerie Nordenhake, Stockholm, 'Parallelareal', 27 August–3 October 2010, another example exhibited.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
Signed with monogram EB. Executed in 1997.
Oil on panel in mosaic frame 61.5 x 135.5 cm.
Provenance: Stockholms Auktionsverk, Modern Art, 3 May 2010, lot 258.
Literature: Carl Johan De Geer och Ernst Billgren, 'Ernst Billgren', 2000, illustrated p. 142.
Estimate: SEK 100 000 – 125 000 / EUR 8 830 – 11 040 (d)
362. Gunilla Klingberg (Sweden, 1966–) 'Swivel Chair'. 363. Ernst Billgren (Sweden, 1957–) 'Sverige'.364. Jenny Carlsson (Sweden,
1984–) 'Ur'.
Signed Jenny Carlsson and dated 2017 verso. Oil on canvas 60 x 72 cm.
Provenance: Galerie Forsblom, Stockholm.
Exhibitions: Galerie Forsblom, Stockholm, 'Jenny Carlsson: Som Spön', 5 May – 12 August 2017.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
365.
Jan Håfström (Sweden, 1937–) 'Skogsaltare I och II'.
Signed Jan H underneath. Diptych. Painted plywood, plastic grass, plastic trees. Each part 36.5 x 25 x 9 cm.
Provenance: Private Collection, Stockholm.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
366. Ulf Wahlberg (Sweden, 1938–2014)
'Sun Valley'.
Signed Ulf W and dated 1968–72. Canvas 99 x 133 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
Dick Bengtsson
The painting ’Stockhus’ was part of Dick Bengtsson’s legendary exhibition at Galleri Karlsson in Stockholm in 1969. Twenty paintings depicting empty landscapes with houses was included in the exhibition. Viewed from a distance they seemed peaceful, but on several of them the artist had painted swastikas, some visible in the window frames of the houses, some at the corners of the paintings and some in the background. There were also small hooks under the frames on which yellow plastic shovels hung, and black boxes of birch wood were placed on the floor. These peculiar details distorted the, at first glance, harmonious scenes into something much more disturbing. Suddenly, it was no longer landscape paintings that filled the gallery, but rather an ambiguous collection of installations.
’Stockhus’ hung at Galleri Karlsson next to a mirrored version of the painting. Both works stood out in the exhibition as they did not contain any swastikas, yet there is something elusive and suspended about them. A solitary log house stands on a hill with a dark spruce forest in the background. The pan has a dark patina that the artist often applied to his paintings by working the painted surface with a hot iron. The result is that the landscape is stripped of all traces of rural idyll. At the same time, Bengtsson’s skilful surface treatment enriches the image with a visual beauty freed from all forms of pretension.
In front of a work by Dick Bengtsson, one is never really sure of the meaning of the di erent components. His art is full of mystery and asks more questions than it answers. In his multi-layered world, one is forced to challenge one’s values and associations; it demands the viewer’s full attention. It is difficult to separate truth from fantasy and he has said that ’My pictures are very much about the falsification of reality, about the idyll that is not what it appears to be’.
The exhibition at Galleri Karlsson provoked many reactions and contributed to Dick Bengtsson’s position as one of our country’s most important and influential artists. With his critique of modernism’s overconfidence in an unambiguous truth, he was an early forerunner of postmodernism. Never accepting that there is only one correct mode of interpretation, his art posed previously unaddressed questions. For a long time, Bengtsson combined his painting with work at the post office and he did not have a studio, but most of his works are made on his own kitchen floor. His fellow artists appreciated his paintings and a circle of collectors and museum people realised his greatness already during his short lifetime; he has been referred to as an ’artist’s artist’ despite having several high-profile exhibitions. Still today we see clear traces of his influence in Swedish contemporary art.
367. Dick Bengtsson (Sweden, 1936–1989) 'Stockhus'.
Signed Dick Bengtsson and dated–69. Oil on panel 51 x 72 cm including frame. Plastic toy shovel, length 18 cm.
Exhibitions: Galleri Karlsson, Stockholm, 1969. Moderna Museet, Stockholm, 'Dick Bengtsson' 22 January–30 April, 2006, cat no 18.
Literature: Mårten Castenfors (ed.),'Dick Bengtsson', SAK, 2005, illustrated p. 66.
Estimate: SEK 300 000 – 400 000 / EUR 26 480 – 35 310 (d)
368. Johan Nobell (Sweden, 1963–) 'Flamingo'.
Signed Johan Nobell. Canvas 29 x 35 cm.
Provenance: Andréhn-Schiptjenko, Stockholm.
Exhibitions: Andréhn-Schiptjenko, Stockholm, 'Gone to Croatan', 13 January–13 February 2011.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
369. Peter Frie (Sweden, 1947–) Untitled.
Signed P Frie and dated 98 verso. Oil on panel 120 x 122 cm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
370. Dan Wolgers (Sweden, 1955–) 'Världsklocka'.
Signed Dan Wolgers, dated 1991 and numbered 4/10 verso. Wood, metal, engine, bicycle chain. Height 221 cm, width 32 cm.
Provenance: Lars Bohman Gallery, Stockholm.
Literature: Dan Wolgers and Pontus Hultén, '120 verk 1977–1996', 1996, compare image on fullpage 19. Dan Wolgers e.a, 'Dan Wolgers, Verksamhet 1977–2001', 2001, compare image.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
371. Dan Wolgers (Sweden, 1955–) Untitled.
Signed Dan Wolgers and dated 1997. Lacquered wood, height 30 cm.
Literature: Dan Wolgers, '51 objekt från 1997', Galleri Lars Bohman, illustrated p. 31. Liljevalchs konsthall, 'Dan Wolgers', exhibition catalogue 2001, illustrated full-page (detail) under the year 1997.
Estimate: SEK 8 000 – 10 000 / EUR 710 – 890 (d)
372. Dan Wolgers (Sweden, 1955–) 'Objekt'.
Signed Dan Wolgers, dated 2004 and numbered 22/100. Candle and metal stand with cord. In original box. Length excluding cord 28 cm.
Estimate: SEK 5 000 – 6 000 / EUR 450 – 530 (d)
373. Max Mikael Book (Sweden, 1953–) 'Rainerserien'.
Signed Max Book and dated 2000 verso. Numbered 3/16 from the suite 'Deluminum'. Mixed media on panel 41.5 x 65 cm.
Provenance: Galleri Göran Engström, Stockholm. Acquired from the above in June 2000.
Estimate: SEK 12 000 – 15 000 / EUR 1 060 – 1 330 (d)
374. Fredrik Wretman (Sweden, 1953–) 'Minitrans'.
Signed Fredrik Wretman and dated 2007 at the bottom, polyurethane, height 29 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
375. Lukas Göthman (Sweden, 1970–) 'Grand Tour'.
Signed L Göthman and dated 2015 verso. Canvas 40.5 x 32 cm.
Provenance: Roger Björkholmen Gallery, Stockholm.
Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 650 (d)
376. Roj Friberg (Sweden, 1934–2016) .
Signed Rf and dated 86. Mixed media on paper, image 78 x 87 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
377. Withdrawn
Signed Astrid Sylwan and dated 2005 verso. Canvas 120 x 130 cm.
Provenance: Galleri Andersson/Sandström, Stockholm.
Exhibitions: Galleri Andersson/Sandström, Umeå, 29 January–1 March 2006.
Estimate: SEK 35 000 – 40 000 / EUR 3 090 – 3 530 (d)
Signed A. Klingspor. Numbered 21/49. Foundry stamp Perseo SA.
Bronze, 27.3 cm in diameter. Total height including granite base, 40 cm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
378. Astrid Sylwan (Sweden, 1970–) Untitled.
379. Alexander Klingspor (Sweden, 1977–) 'N.Y.C Legend'.
380. Andreas Eriksson (Sweden, 1975–) 'Fröställning'.
Signed Andreas Eriksson and dated Medelplana 2009 verso.
Oil on aluminum 34 x 29 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
381. Peter Johansson (Sweden, 1964–) 'Smålänningar är snåla'.
Signed Peter Johansson and Barbro Westling, dated 2007 and numbered e.a. 1/3 verso. Objects mounted in glass box. 22.5 x 22.5 x 45 cm.
Estimate: SEK 30 000 – 35 000 / EUR 2 650 – 3 090 (d)
382. Yngve Rådberg (Sweden, 1968–) 'Fundament'.
Executed in 2008. Oil on acrylic glass 28 x 42 cm.
Provenance: Galleri Gunnar Olsson, Stockholm. Sivert Oldenvi Collection.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
Signed Alexander Tovborg and dated 2014 verso. Mixed media on canvas 58 x 38 cm.
Provenance: Nicelle Beauchene Gallery, New York. Acquired at the Armory Show, New York.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530 (d)
Signed Bjarne Melgaard and dated 2014 verso. Canvas 120 x 120 cm.
Estimate: SEK 100 000 – 150 000 / EUR 8 830 – 13 240 (d)
383. Alexander Tovborg (Denmark, 1983–) 'Bocca Baciata'.
384. Bjarne Melgaard (Norway, 1967–) Untitled.
Nathalie Djurberg & Hans Berg
Nathalie Djurberg and Hans Berg are among Europe's foremost and most idiosyncratic artists. Djurberg creates stop motion animations and Hans Berg, a musician and composer, sets them to music in close collaboration. Videos, spatial installations and sculptures form the basis of his work. Relationships between humans, animals and natural forces are the constantly pulsating theme in their world. The unifying force is desire. The desire to unite, destroy, dominate or escape.
The duo's work contains a lot of black humor and references to popular culture and art history. Hans Berg's hypnotic music suggestively amplifies emotional states and drives the story forward. The characters' alienation is palpable - they often radiate loneliness, low self-confidence or a dist orted self-image, with appearances or behaviors that are not usually socially accepted.
385. Nathalie Djurberg & Hans Berg (Sweden, 1978–)
'The Brain Has Corridors–Rat Bride'.
From the video work 'One Need Not be a House, The Brain Has Corridors'. A signed certificate accompanies the lot. Executed in 2018. Wire, fabric, plasticine, acrylic paint, wood, silicone, epoxy, synthetic hair: Bride: ca 40 x 33 x 34 cm. Man: ca 30 x 38 x 48 cm. Base: 91 x 70 x 56 cm.
Provenance: Gio Marconi, Milano. Private Collection, Switzerland.
Estimate: SEK 600 000 – 800 000 / EUR 52 960 – 70 610
12% Import VAT will be charged on the hammer price on this lot.
386. Tom of Finland (Touko Valio Laaksonen) (Finland, 1920–1991) Untitled.
Signed Tom and dated '87. Registered with the Tom of Finland Foundation. Pencil, image 20.6 x 20 cm. Sheet 27 x 24 cm.
Provenance: Galleri Pelin, Helsinki. Acquired in 1992 by the present owner.
Estimate: SEK 200 000 – 250 000 / EUR 17 660 – 22 070 (d)
387. Donald Baechler (USA, 1956–2022) 'Untitled (Flowers)'.
Signed DB and dated 06. Also signed and dated verso. Plaster and flashe on paper 67.5 x 52.5 cm. Including frame 90 x 75.5 cm.
Provenance: Lars Bohman Gallery, Stockholm. Acquired by the present owner in 2007.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060
Trude Viken
‘Portraits from everyday life are those that interest me the most. They have developed into fantasies of how we feel behind our facade. I want to express those feelings and they must be genuine. When I have bad days, I know that most people also have them. Those days, hours or minutes are part of our life. We keep smiling happily and seem untouched to those around us. In the end we only fool ourselves. The difficulty of showing those tough sides of life makes me curious. This gives me a desire to continue my project.’ (Trude Viken)
Trude Viken has described her artistic career as an Instagram fairy tale. As a self-taught painter she has always had a complex about her lack of formal artistic training. Her nursing career and family life took all her time and energy. However, she had been interested in art from an early age and painted in her free time. For years she worked to find her own style, much inspired by the Norwegian painter Edvard Munch. In a series of portraits and self-portraits she explored the contradictions between the social-media generation’s inner life and outward appearance, or ‘how we feel behind the facade’. Her bold naïve neo-expressionist portraits are saturated with swirling thick layers of paint. Shapes dissolve as the layers of paint are repainted many times; almost anything is allowed. The portraits come across as grotesque, haunting, erotic, humorous - and totally fascinating.
Viken decided to set up an Instagram account dedicated only to her artwork. The account generated international interest and one of the first inquiries came from the artist Richard Prince. – ‘Do you sell your paintings?’ Viken thought that someone was joking with her and initially ignored the request. However, The New York based art gallery The Fortnite Institute had picked up her Instagram account and finally persuaded her to do a solo exhibition in New York in 2018. It was an instant success.
In a short time, Trude Viken has exhibited separately on several occasions including shows at M + B Gallery, Los Angeles and Vestfossen Art Laboratory, Oslo, as well as a solo at Belenius in 2022 and a solo show at Enter Art Fair, Copenhagen with Belenius. Group shows include the inaugural exhibition at the new Nasjonalmuseum in Oslo, 2022, and recently again at the Fortnight Institute, New York, 2023. Viken has also been featured in a solo documentary at NRK, the Norwegian National TV Broadcasting Corporation.
388. Trude Viken (Norway, 1969–) 'Woman'.
Signed Trude Madsen Viken and dated 2021 verso. Oil on canvas 50 x 40 cm.
Provenance: Fortnight Institute, New York. Private Collection, Sweden.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
389. Cristos Gianakos (USA, 1934–) 'Russian Roulette'.
Signed Chris Gianakos and dated 5.13.09 verso. Panel 168 x 117 cm.
Provenance: Galleri Andersson/Sandström, Stockholm.
Exhibitions: Galleri Andersson/Sandström, Stockholm. “Recent Work”.
17 June–18 August 2009.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060
390. Luis Frangella (USA, 1944–1990) Untitled.
Signed with dedication and dated '84. Painted cardboard, height 18.2 cm.
Provenance: Directly from the artist to the present owner.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
391. Rirkrit Tiravanija & Tomas Vu (Argentina) 'The Revolution Will Come in Every Direction'.
Signed RT and TV and dated 2018. Silkscreen on newspaper 56 x 59.
Provenance: Tomas Vu Studio. Acquired from the above by the present owner.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830
392. Elke Krystufek (Austria, 1970–) 'One of you'.
Executed in 1998. Mixed media on fabric 170 x 130 cm.
Provenance: Emily Tsingou Gallery, London. Collection of the Heidi Boyce Broström and Dan Axel Broström, Stockholm.
Estimate: SEK 100 000 – 125 000 / EUR 8 830 – 11 040 (d)
393. Beverly Baker (USA, 1961–) 'Untitled'.
Exected in 2007. Coloured pencil and marker on cardstock 16.2 x 21.5 cm. Inc. frame 25.4 x 30.5 cm.
Provenance: Andrew Edlin Gallery, New York. Private Collection, Stockholm.
Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 060
Sheila Hicks
Sheila Hicks is one of the pioneers of so-called Fibre Art, a genre that developed in the 1960's and 70's. It was an art movement driven mainly by women, including Leonore Tawney and Magdalena Abakanowicz. The artists explored the possibilities of textiles and natural fibres and produced innovative three-dimensional works that completely broke with traditional Western techniques.
‘Textile is a universal language. In all of the cultures of the world, textile is a crucial and essential component’ (Sheila Hicks, Ford Foundation, October 2014)
Throughout her life, Sheila Hicks has travelled, worked and lived on several continents. Through all these places and throughout her 60-year career, the common thread has always been the craft of textiles. Over the years, she has worked on everything from small hand-woven wall-hung objects to large sculptural objects and site-specific monumental works, textile pillars and entire walls covered with large colourful balls of wool (Venice Biennale 2017).
During her studies, she was greatly influenced by Josef Alber's thoughts on colour and George Kubler's art historical studies of pre-Columbian art. At Kubler's urging, she travelled the world to learn more about textile craftsmanship. Her first stop was Chile, where she indulged in at the weaving traditions of the Andes.
From 1959 to 1964, she lived in Taxco el Viejo, Mexico, where she worked with the locals in traditional ways. In 1964, she moved to Paris where she set up a studio. She has also worked in Africa, with weavers in India and tufted carpets in Morocco. Whatever the destination, she has always been careful to incorporate the local craftsmen and their knowledge and specialised techniques. Her work is characterised by strong, vibrant colours, raw natural materials such as wool and linen but also other natural fibres and synthetic thread. The material is shaped by weaving, knotting, braiding and a range of other techniques. The end result is usually coarse, with a lot of texture, and a clear sense of the hand's work.
In March 1966, Hicks was approached by Maurice Holland, then Director of NK Inredning in Stockholm, who had noticed her work and her Kerala collection of fabrics and rugs for Arterior. Holland wanted to organise an exhibition of Hick's production and unique works in the NK showroom at Sveavägen 20. The exhibition took place from 15 to 25 September 1966 and, due to its popularity, was extended for another week. Holland writes happily in a letter to Hicks that several works have been sold and that there have been many visitors, including several groups of interested textile students. The auction piece 'Quipo 14B' was probably shown in the NK exhibition and was previously in the ptivate collection of Maurice Holland
The exhibition received much attention in the press; on 16 September 1966 Dagens Nyheter wrote the following:
‘What she has learnt from the ancient cultures is the art of working sculpturally, multidimensionally with the yarn. Her weavings are not tapestries, but sculpted weavings, sometimes with a braided grid, sometimes with a cascade of braids, tassels, or layers of different techniques. Her colours are refined, sometimes extremely restrained, sometimes wild, sometimes cold and warm. Her weaves and knots provide a modern, up-to-date interpretation of ancient techniques, and you can see why she is well represented at the Museum of Modern Art in New York.’
Sheila Hicks has an impressive resume with numerous exhibitions around the world. In autumn 2024, a solo exhibition will be held at the Kunsthalle Düsseldorf and the Josef Albers Museum in Bottrop, Germany. Hicks' work can be found in the collections of the Centre Georges Pompidou in Paris, the Manufacture des Gobelins, Paris, the Museo de Bellas Artes, Santiago, Chile, the Museo Universitario Arte Contemporáneo, Mexico City, the National Museum of Modern Art, Tokyo and the Museum of Modern Art in New York, among others.
394. Sheila Hicks (USA, 1934–) 'Quipo 14B'.
Signed Sheila Hicks and stamped Arterior verso. Probably executed in 1966. Handspun wool bound on a flat weave structure 120 x 98 cm.
The artist has expressed interest in lending the work to the exhibition at Kunsthalle Düsseldorf and Josef Albers Museum in Bottrop, September 2024.
Provenance: Directly from the artist to Maurice Holland. Thence by descent to the present owner.
Exhibitions: Nordiska Kompaniet/NK Inredning, Sveavägen 20, Stockholm, 'Möt Sheila Hicks', 15–25 September 1966.
Estimate: SEK 400 000 – 600 000 / EUR 35 310 – 52 960
Yves Klein
Born in 1928 in Nice, France, Yves Klein was one of the frontrunners of the Nouveau réalisme art movement and is now best known for his Klein blue objects. In his all too short life, he was also a pioneer of performance art, the most disruptive art movement after Cubism.
One interpretation of what drove Klein was ’everythingness’. Being able to embrace and own the beautiful. He conquered the azure sky by simply claiming to have invented its color, International Klein Blue (IKB), which he did in 1957. IKB ran like a blue thread through his art, and he used it for several different types of monochrome works in a variety of materials. It was also used in several of his most famous series, such as ”Anthropometry” where naked women painted with pigment made body prints on canvas.
The auction’s ’Untitled Blue Monochrome (IKB 327)’ is painted with rollers and has a very rich and textured surface. In a 1959 lecture at the Sorbonne by Yves Klein, Klein said that the blue monochromes are recognizable and similar in appearance, yet unique and different from each other. This makes this work particularly interesting, even though each blue monochrome is made with the same pigment.
395. Yves Klein (France, 1928–1962) 'Untitled Blue Monochrome (IKB 327)'. Signed Yves verso. Also stamped Iris Clert verso. Pure pigment and synthetic resin on cartolin 21.5 x 18 cm. The authenticity of the work is confirmed by R.U.K./Yves Klein Archive in Paris.
Provenance: Iris Clert, Paris. Acquired by the present owner in the late 1960's.
Estimate: SEK 1 500 000 – 1 700 000 / EUR 132 400 – 150 050 (d)
396. Richard Aldrich (USA, 1975–) 'Christmas Painting'.
Signed Aldrich and dated 2007 verso. Canvas 43.5 x 30.5 cm.
Estimate: SEK 30 000 – 35 000 / EUR 2 650 – 3 090
397. Alimi Adewale (Nigeria, 1974–) Untitled.
Signed Alimi and dated 19. Acrylic on wood. Height 41 cm, length 30 cm, depth 15 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
398. Tony Cragg (Great Britain, 1949–) 'No name'.
Signed Tony Cragg, for Berengo Studio. Glass. Height 29 cm, length 36 cm, depth 29 cm. Unique. A signed certificate executed by Adriano Berengo accompanies the work.
Provenance: Berengo Studio, Venice. Acquired in 2016.
Estimate: SEK 200 000 – 300 000 / EUR 17 660 – 26 480 (d)
399. Donald Baechler
1956–2022) 'Untitled (Red Flower)'. Signed DB and dated 96 verso. Numbered #DB-1282–96. Mixed media on canvas 137 x 244 cm.
Provenance: Christie’s, New York, 8 May 2000, lot 220. Private Collection, Sweden.
Estimate: SEK 250 000 – 300 000 / EUR 22 070 – 26 480
400.
Provenance: Lars Bohman Gallery, Stockholm.
203.5 x 139 cm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
401. Charles Sekano (Kenya, 1943–) 'Combination'.
Signed C Sekano. Acrylic on paper 75.5 x 50.5 cm.
Provenance: Gallery Watatu, Nairobi. Private Collection, Sweden.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
(USA, Domenico Bianchi (Italy, 1955–) 'Globe'. Mixed media and wax on canvas mounted on panel
402. Alex Katz (USA, 1927–) 'Cane Garden Bay 2'.
Executed in 1974. Oil on linen 122 x 152.5 cm.
Provenance: Marlborough-Gerson Gallery, New York. Marlborough, London. Björn Bengtsson Gallery, Sweden. Private Collection, Sweden. Acquired from the above in 1977.
Exhibitions: Marlborough, London, 1975.
Estimate: SEK 8 000 000 – 10 000 000 / EUR 706 090 – 882 620
Alex Katz – ‘Cane Garden Bay 2’
The painting ‘Cane Garden Bay 2’ was executed in 1974 and the subject is taken from a trip to the island of Tortola, the main island of the British Virgin Islands in the West Indies. This painting contains all the typical attributes of an important work by Alex Katz: the model Ada, the large format, the bright light, the monochrome colour palette and the absence of action and central perspective. In this near two-dimensional image, Katz has captured Ada in a moment of stillness and contemplation against the azure sea.
Katz met his future wife Ada Del Moro at a gallery opening in New York's East Village in 1957. One of their first dates was a Billie Holiday concert. Over six decades, Katz has painted over 250 portraits of his wife and muse. He has portrayed Ada as everything from a demure 20-something, to a mother with child, to a beautiful mature woman. The portraits manifest the artist's dedication to the love of his life.
One of America's most influential artists, Katz burst onto the New York art scene in the 1950s during the Abstract Expressionist movement, just before the rise of Pop Art. Born in 1927 in Brooklyn, New York, he attended the Cooper Union School of Art in New York from 1946 to 1949. He then spent two summers at the Skowhegan School of Painting and Sculpture, where he was fascinated by the light of Maine. Painting in the open air, 'en plein-air', was to have a major impact on his work.
In 1962, Katz began painting what would become the starting point for his entire future oeuvre: eye-catching, intrusive, and monumental portrait, figure, flower, and landscape paintings, reminiscent of snapshots. At this time, large-scale canvases were associated with abstract painting, not with figurative painting. Katz’s portraits were often executed against a monochrome background. What often characterises these portraits is the absence of action. Katz faced criticism early in his career, with some claiming that his paintings were flat and uninteresting. But they are so much more! They are full of exquisite painterly transitions, often boldly expressionistic, sometimes deeply intense.
Today, at the age of 96, Alex Katz is an ever-present artist whose work has evolved over a lifetime from small intimate paintings to aluminium cut-outs, to eye-catching portraits, landscapes and floral paintings on a monumental scale. In 2023, the major retrospective exhibition 'Alex Katz: Gathering' at the Solomon R. Guggenheim Museum, New York showcased eight decades of Alex Katz's work. Towards the end of the chronological exhibition was 'Ada's Back 2' from 2021 where Ada is seen from the back, her white hair streaked and shimmering in grey.
Alex Katz. Foto: Adrienne Grunwald / NY Times / TT
403. Gladys Nilsson (USA, 1940–) 'Modern Harem'. Signed Gladys Nilsson and dated 1984 verso. Watercolour, image 56.5 x 38 cm.
Provenance: Stockholms Auktionsverk. Private Collection, Uppsala.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060
404. Gladys Nilsson (USA, 1940–) Probably from the 'Domestic Goddess Series'.
Signed Gladys Nilsson and dated 1990 verso. Watercolour, image 57 x 38 cm.
Provenance: Stockholms Auktionsverk. Private Collection, Uppsala.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300
405. Toby Ziegler (Great Britain, 1972–) Untitled. Signed Toby Ziegler and dated 2016 verso. Mixed media on aluminum 39 x 34.5 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
406. Martin Kippenberger (Germany, 1953–1997)
From the series 'Hotel Drawings'. Signed M.K and dated–90. Oil crayon and pastel on paper 29.5 x 21 cm.
Provenance: Galleri Nordanstad–Skarstedt, Stockholm. Stockholms
Auktionsverk, 'Contemporary', 6 December 2016. Private Collection, Stockholm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
407. Arman (Armand Pierre Fernandez) (France, 1928–2005) 'Venus with Spoons'.
Signed Arman and numbered 22/100. Bronze, spoons, 55 cm high including marble base.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
'Untitled (Hotel Chelsea)'.‘I draw flowers every day and send them to my friends so they get fresh blooms every morning.’
David Hockney
David Hockney – ‘Flowers for a Wedding’
The still life ‘Flowers for a Wedding’, up for sale in this auction, was painted in 1962, the year David Hockney graduated from the Royal College of Art. The still life beautifully demonstrates how Hockney combines his admiration for modern Masters as Paul Cezanne, Henri Matisse, and Vincent Van Gogh with his unique sensibility for form, colour, and space. Against a monochrome background a large vase towers, filled with red and orange flowers and near-black leaves. The motif is cropped at the upper margin, like a snapshot, adding a sense of originality to the traditional subject. This is enhanced by the fact that the vase seems to balance atop a yellow sign with the lettering ‘FLOWERS’.
Written messages played an important part in Hockney’s work in the 60s. The artist has described how he was hesitant to use figures in his motifs as figure painting was considered very anti-modern. The solution was to add the element of enhanced typography and include written words in his work. Sometimes the lettering appears only as a title as in the painting ‘Berlin: a souvenir’ with the word BERLIN in capitals across the top. On occasion the lettering takes on a meaning, adding a cryptic message as ‘I will love you at 8 pm next Wednesday’ in ‘The Fourth Love Painting’ from 1961.
Since the 1960s, flowers are central theme of Hockney’s work. In paintings such as ‘Domestic Scene Notting Hill’, 1963, the iconic ‘Henry Geldzahler and Christopher Scott’, 1969, and ‘Model with Unfinished Self Portrait’ from 1977 the vase of flowers appears as an accent and a punctuation mark. Hockney’s depictions of flowers bear witness to the development of his unique style, his excitement regarding new printing techniques, and his endless experimentations with colour, form, and line. From paintings and etchings to lithographs and iPad drawings, the humble vase of flowers has been included and under constant review by the artist.
408. David Hockney (Great Britain, 1937–) 'Flowers for a Wedding'.
Signed David Hockney and dated 1962 verso. Oil on canvas 61.7 x 31.2 cm.
Provenance: Petersburg Press, London Björn Bengtsson Gallery, Sweden. Private Collection, Sweden. Acquired from the above in 1987.
Literature: David Hockney, 'Hockney's Pictures', London: Thames & Hudson, 2007, illustrated p. 34.
Estimate: SEK 2 500 000 – 3 500 000 / EUR 220 660 – 308 920 (d)
David Hockney
David Hockney was still a student at the Royal College of Art (RCA) in London when his work began to attract notice in 1962. For two years in a row Hockney’s work had featured in the Young Contemporaries at the RBA Galleries in London. The 25-year-old with the bleached mop of hair and huge horn-rimmed glasses had stirred up the art scene in the London Swinging Sixties.
For his graduation Hockney had refused to paint a female model from life as was required by the Royal College of Art. Instead, he rounded the rules and copied a muscleman out of a magazine. To prove that he mastered anatomy drawing he stuck one of his early studies of a skeleton on to it. Across the top he added the painted typography ‘Physique’ referring to the magazine name Physique Pictorial. Hockney was enjoying a new wave of confidence, and despite fighting the standard he was awarded a Gold Medal distinction from the RCA. He received it wearing an ostentatious gold lamé jacket to the ceremony.
It was at this time, he felt, 'I became aware as an artist.' That summer, in an article for Ark, the RCA journal, Dick Smith remarked, 'Hockney as a personality is bound up with his paintings. The paintings serve as letters, or diary jottings or mementoes; the figures are portraits; events portrayed did happen; someone did dance the cha-cha at three in the morning. A curtain of fantasy is drawn between the spectator and the painter, but the curtain is part of the structure which is as essential as Bardot’s towel.'
Hockney has occupied himself with the fundamentals of picture-making and of how we see the world. ‘He has delved deep into the history of art, both Eastern and Western, and frequently used the newest technology as it has become available. He has absorbed and reflected on the picture-making traditions of many times and places, which is one of the reasons why Hockney himself is a figure of global importance.’
(Martin Gayford, Tate)
Foto: James Gray/ ANL / REX / TT
Nathalie Djurberg & Hans Berg
The work 'Puppets from the Parade of Rituals and Stereotypes 3' is made up of handmade puppets that have all appeared in the 2012 video work 'Parade of Rituals and Stereotypes'.
Lena Essling writes in connection with Nathalie Djurberg and Hans Berg's exhibition at Moderna Museet in 2018. '... the figures in 'The Parade of Rituals and Stereotypes' (2012) are played off against each other, sometimes violently: Lucia parade, judges, fashion victims, upper class and exploited poor people. Heartlessly and hilariously, both characters and director eventually emerge as victims of their own vain fickleness. A capricious force controls a group of lost souls in works that breathe social satire - or perhaps a critique of God.'
409. Nathalie Djurberg & Hans Berg (Sweden, 1978–) 'Puppets from The Parade of Rituals and Stereotypes'. From the video work 'The Parade of Rituals and Stereotypes'. A signed certificate accompanies the lot. Executed in 2012. Mixed media 155 x 45 x 205 cm.
Provenance: Zach Feuer, New York. Private Collection, Sweden.
Estimate: SEK 800 000 – 1 000 000 / EUR 70 610 – 88 270 (d)
410. Donald Baechler (USA, 1956–2022) 'Man with Hat'. Signed Baechler, dated and numbered Baechler 1/8 2011. Patinated bronze, height 92 cm.
Estimate: SEK 200 000 – 300 000 / EUR 17 660 – 26 480
411. Tony Matelli (USA, 1971–) 'Weed #65'.
Marked 65–08. Executed in 2008. Unique. Painted bronze. Height 29 cm.
Provenance: Andréhn-Schiptjenko, Stockholm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830
412. Martin Kippenberg (Germany, 1953–1997) 'Castle Hotel'.
From the series 'Hotel Drawings'. Signed M.K and dated '90. Mixed media on paper 29 x 20 cm.
Provenance: Galleri Nordanstad–Skarstedt, Stockholm. Private Collection, Stockholm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
413. Attasit Pokpong (Thailand, 1977–) Untitled. SIgned and dated 2007. Oil on canvas 160 x 140 cm.
Provenance: Acquired in 2008, Copenhagen.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060
415. Shih Chieh Huang (Taiwan, 1975–) 'Eye Dea'.
Executed in 2007. Video work, light bulb, light sensor, TV, DVD-player, remote control, transformator, mixed media. TV, height 33 cm.
Lamp, height 23 cm.
Provenance: Virgil de Voldère Gallery, New York. Private Collection, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 650 – 3 530
414. Verma Akhilesh (India, 1956–) 'Untitled as never before'. Signed Akhilesh and dated–04 verso. Acrylic on canvas 115 x 85 cm.
Provenance: Gallery Time & Space, Bangalore, India. Acquired from the above in 2005. Private Collection, Stockholm.
Exhibitions: Gallery Time & Space, Bangalore, India, 2005.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300
Jim Dine
Jim Dine's art has become strongly associated with his very personal circle of motifs. Recurring motifs include hearts, tools, brushes and Pinocchio. The painting, 'Mr. Oxide', features another of his most iconic motifs: the bathrobe. Executed in bright red, yellow, blue and green, the painting is a magnificent example of his expressive and colourful painting. Bathrobes have been a central motif throughout his career and recur in several of his many medias. Dine began depicting them in the 1960s, inspired by an advert in The New York Times in 1963. Although he himself has admitted that he never wore a bathrobe in person, they soon took the form of self-portraits. In an interview with ARTnews in September 1977, he described how he first became interested in the bathrobe as a subject: 'The ad shows a robe with the man airbrushed out of it. Well, it somehow looked like me, and I thought I'd make that a symbol for me. Actually, it all began when I wanted to paint a self-portrait . . . and just couldn't. It's important for me to say this, because what I really wanted to do was sit in front of a mirror and paint a portrait of myself. But at the time, I was in analysis and the pressures I felt prevented me from going through with it.’
By allowing the robe to clothe an invisible body without head, legs and arms, he found the form perfectly suited to the rectangular composition he preferred to work with. The empty bathrobe becomes an inverted portrait of an unknown person, while retaining its painterly freedom of line and colour.
Dine began his career in the late 1950s as one of the youngest of the new generation of artists seeking a way forward from Abstract Expressionism. Jim Dine collaborated with the Pace Gallery in New York from 1978 to 2016, where he first exhibited his large paintings of bathrobe motifs. He has described his painting as a process of correction in which he repeatedly reworks a painting. Colour is added, removed and revised until the final result is achieved. Although he repeats his motifs, each work is unique, whether it is a collage, painting or drawing. His works explore the relationship between texture, colour and composition, allowing both himself and the viewer to apply their own feelings and ideas to the form.
Jim Dine has had more than 300 exhibitions during his career, including retrospectives at the Whitney Museum of American Art, New York (1970), the Museum of Modern Art, New York (1978), Museum Folkwang, Essen (2015-16), among others. He is a very popular artist and his work is in the collections of most of the world's major collectors and art institutions.
416. Jim Dine (USA, 1935–) 'Mr. Oxide'.
Signed Jim Dine and dated 2009 verso. Canvas 122 x 92 cm.
Provenance: Wetterling Gallery, Stockholm.
Estimate: SEK 500 000 – 700 000 / EUR 44 130 – 61 790
‘… Over the years I have made paintings and I have exhibited them. They weren’t commissions, but fireworks started to happen. Governments wanted to buy them; people argued over them and where to place them.
Some people wrote poems about them. It was exciting. Later on people wanted to commission me to do a mural for them…’
James Rosenquist, 1989James Rosenquist
James Rosenquist’s fascination with images of pop-culture, especially from Time Magazine, made him seek out another path than the Abstract Expressionists who were his peers. His hand-painted collage-like compositions differ from those of other early Pop art contemporaries as Jim Dine, Robert Indiana, Roy Lichtenstein, Claes Oldenburg and Andy Warhol. Rosenquist rarely used any mechanical means as stencils or silk-screening. He was a painter in the very traditional sense, producing very untraditional images.
The monumental painting ‘Welcome to the Water Planet III’ was commissioned by the McDonald's headquarters in Sweden in the late 80s. The work measures 5.25 meters in height and it is a magnificent work created for the modern open lobby of the head office in Stockholm. ‘Welcome to the Water Planet III’ is a striking image balancing between realism and kaleidoscopic abstraction. The canvas is divided by an invisible horizon over which bright signature pink water lilies are floating. Underneath is a magical tangle of flowers, roots, and a bird dragging pieces of skin. Up in the distant sky a stella nova passes by, possibly a threat to life below. It is partially obscured by a curious overlay of the slivered image of a fashion model’s face adding a mysterious aura to this work.
The practice of commissioned work has been a significant part of the art world for centuries. The traditional relationship between patron and artist has in recent times been replaced by the one between artist, gallery, and art dealer. James Rosenquist is unusual in that, albeit hesitant, he has had several important large-scale commissions for clients in the US and abroad.
Judith Goldman, writer and former curator at the Whitney Museum of American Art has described Rosenquist’s ambivalent approach to commissioned work. Rosenquist has found them difficult and has refused more than he accepted. On other occasions he has disregarded the agreed terms and created something totally different. He had no reservations, however, about accepting a commission from New York’s Four Seasons Restaurant in 1983. He liked the building, designed by Mies van der Rohe, he liked the interiors by Philip Johnson, and he liked the company of Picasso’s 1919 ‘Le Tricorne’, the painted theatre curtain installed at the restaurant at the time. He liked the champagne, the cuisine, and the glamour of the Four Seasons. Eventually he had an idea for the painting and left for his studio in Florida to work on the commission. He bought seed catalogues and tropical flower books, studied magazines and photographed flowers and fish. Three months later the seven-meter canvas was rolled up and driven to the studio at Chambers Street in New York. Goldman writes that no one had seen the painting until a grey Sunday in March when a wedding party of fourteen Swedish couples that included Princess Christina of Sweden arrived at the studio. Rosenquist conducted the successful tour of his studio as a dress rehearsal for the planned visit the next day by the owners of the Four Seasons. Three months after the installation of the monumental ‘Flowers, Fish, and Females for the Four Seasons’, 30 000 people had seen the painting.
417. James Rosenquist (USA, 1933–2017)
'Welcome to the Water Planet III'.
Signed James Rosenquist and dated 1988 on the overlap verso. Oil on canvas mounted to panel, three parts, total 525 x 204.9 cm, each 175 x 204.9 cm. Registered in the James Rosenquist Painting Record with #88.06.
Provenance: McDonald's Swedish Corp., Stockholm.
Exhibitions: University of South Florida Art Museum, Tampa, Florida, 'James Rosenquist at USF', 10 October–3 December 1988.
Literature: Donald J. Saff, 'James Rosenquist at USF. Tampa: University of South Florida', 1988. (ref. pp. 4, 47). Craig Adcock, 'James Rosenquist's Commissioned Works'. Stockholm: Painter's Posters in association with Wetterling Gallery, 1990. (illus. p. 50; ref. pp. 51–52). Walter Hopps and Sarah Bancroft. 'James Rosenquist: A Retrospective'. New York: The Solomon R. Guggenheim Foundation, 2003. (ref. p. 383). James Rosenquist with David Dalton. 'Painting Below Zero: Notes on a Life in Art'. New York: Alfred A. Knopf, 2009. (ref. pp. 295–96). Stephan Diederich and Yilmaz Dziewior, eds. 'James Rosenquist: Painting as Immersion'. With essays by Stephan Diederich, Sarah Bancroft, Tino Grass, Isabel Gebhardt, Tom Holert, Yilmaz Dziewior, and Tim Griffin. Munich, London, New York: Prestel Verlag, 2017. (ref. p. 294).
Estimate: SEK 6 000 000 – 8 000 000 / EUR 529 570 – 706 090
Another commission with similar imagery as ‘Flowers, Fish, and Females for the Four Seasons’ was initiated by Björn Wetterling, Rosenquist’s dealer in Sweden in 1986. The restaurant ‘Operakällaren’, in the heart of Stockholm, wanted to commission a mural for their upstairs ballroom. Rosenquist had seen the location and had the exact measurements as he returned to Florida to work. In an interview with Professor Craig Adcock in 1989, Rosenquist comments:
‘As I said, it's cold in Sweden. I figured that people would want to come into a warm place with a red-hot painting hanging on its wall. A real bright coloured, orange-red picture would be as welcome on a cold frosty night as a hot drink. Outside, through the windows, you can see these large stanchions burning oil. The building looks like an old fortress. So, this place is very Nordic. Even in the Summer, I think it’s cool outside.’
In 1988, two years after the installation of “Ladies of the Opera Terrace”, Rosenquist was approached by Paul Lederhausen, the president of McDonald's in Sweden. The company wanted to commission a mural for the brick-walled atrium of the company headquarters in Stockholm. Rosenquist had met with Lederhausen and asked him what he was thinking about. The answer was ‘Good health, welfare and good food’. Rosenquist wanted to accommodate this line of thought and create something happy or in his own words ‘Disney-like’. In the above-mentioned interview with Professor Adcock he explains: ‘It was Winter again in Sweden, and I thought, well hell, I’ll give them something colourful, reddish, positive and filled with fantasy like the Garden of Eden.’ The resulting mural 'Welcome to the Water Planet III' is just that, a brighter and happier rendering of the first version in the series, created for the Lennox Building in Atlanta in 1987. The basic elements in the composition are the same, the Monet-inspired water lilies, the starry sky, and the cut-out overlays. However, the palette is warmer and the sense of an underlying threat to life on the planet is subdued. The bright water lilies are floating upwards, almost lifting from the horizon drawn towards the spiral galaxy in the sky. The distant stars can be seen as representing attraction, the attraction of making a journey to a point of light or the attraction of working to get to a point in thought.
James Rosenquist. Foto: Wolfgang Weihs / DPA / TTFrancesco Clemente
The title of the work ‘The Four Elements’ refers to the four primal elements of Fire, Water, Earth and Air as defined in Greek philosophy, Hinduism and Buddhism. Centrally placed on the canvas is a dreamlike depiction of a body floating between heaven and earth. The face is that of the artist, the arms contorted, the lower body dissolved. The facial expression is determined, while surrounded by an aura of mystery of the unseen, unfathomable. Contrary to his contemporaries of the Abstract art movement of the 80s, Clemente’s primary subject matter is his own body and self-portraiture.
Clemente depicts himself awake or in dreams, his body exaggerated or distorted, transmuting between human and animal, male and female. Painted in vibrant colours, the paintings draw from diverse cultural periods and stylistic sources. Elements, senses and symbols filter through these works and weave together details drawn from Indian folk history and popular culture, as well as Western cultural tradition. These self portraits, suggest that not only does one subject have many forms, but also that the history, culture and religion that define each place where Clemente has lived and worked, has accumulated in the artist's memory.
Francesco Clemente was born in Naples, Italy, in 1952. After an early academic background in classical languages and literature, he briefly enrolled as an architecture student at the University of Rome, in 1970. Throughout the 1970s he exhibited drawings, altered photographs and conceptual works across Europe.
Clemente travelled to India for the first time in 1971 and later visited Afghanistan with his friend and mentor Alighiero e Boetti. Before settling and establishing his studio in New York in 1980, Clemente lived on and off for ten years in India, where he studied Sanskirt as well as Hindu and Buddhist literature, educating himself in the library of the Theosophical Society in Chennai (formerly Madras). There he absorbed the culture, craftsmanship, and folk art traditions, while learning first-hand from Indian miniaturists and sign painters who were making billboard advertisements for Bollywood films.
The 1980s in New York were marked by a strong esprit de corps among the worlds of art, poetry, avant-garde theatre and film, fashion, and popular music. Invigorated by the exchange of creative energy with his new friends and colleagues, Clemente rapidly expanded the scope of his work. He produced his first large-scale oil paintings in the winter of 1981-82, a series of twelve paintings titled The Fourteen Stations, which were shown at the Whitechapel Art Gallery in London in 1983. He began an open-ended series of portraits of visitors to his studio, and participated in numerous collaborative projects, working with Jean-Michel Basquiat and Andy Warhol on a group of paintings, and illustrating poetry by Robert Creeley, Allen Ginsberg, John Wieners, among others.
419. Francesco Clemente (Italy, 1952–) 'The Four Elements'.
Executed 1983. Canvas 236 x 198 cm.
Provenance: Jan Eric Löwenadler, Stockholm.
Exhibitions: Sperone Westwater Gallery, New York, 'Francesco Clemente', 2 April - 10 May 1983. Rooseum - Center for Contemporary Art, Malmö, Sweden, 'Francesco Clemente. The Fourteen Stations', 10 september – 23 oktober 1983, cat. no 11.
Literature: 'Francesco Clemente - Fresco Paintings', Fundacion Caja de Pensiones, exhibition catalog, Madrid, 1987. Illustrated p. 82 exhibition view from Sperone Westwater Gallery, 1983.
Estimate: SEK 800 000 – 1 000 000 SEK / EUR 71 900 – 89 900 EUR (d)
the same’.
Signed Nathalie Djurberg. Executed in 2004.
Animated film, DVD, 4:26 minutes. Edition 2/4 +2 AP.
Provenance: Gió Marconi, Milan.
Estimate: SEK 125 000 – 150 000 / EUR 11 100 – 13 300 (d)
Provenance: Christina Wilson Gallery, Copenhagen.
Exhibitions: Emma Museum, Espoo, 'Jesper Just: The Lonely Villa', 1 February - 28 May 2023, another example exhibited. MAC/VAL, Paris, 'Jesper Just', 22 October 2011 - 5 February 2012, ett annat exemplar utställt. Brooklyn Museum, New York, "Jesper Just: Romantic Delusions", 19 September 2008 - 4 January 2009, another example exhibited. Australian Centre for Contemporary Art, Melbourne, 'Intimacy', 7 October - 30 November 2008, another example exhibited. Witte de With, Center for Contemporary Art, Rotterdam, 'Jesper Just', 3 March - 6 May 2007, another example exhibited. Stedelijk Museum Amsterdam, 'Jesper Just - Something to love', 9 December 2006 - 20 January 2007, another example exhibited. Moderna Museet, Stockholm, 'Something to love', 1 January - 22 February 2006, another example exhibited. Perry Rubenstein Gallery, New York, 'Jesper Just', 3 November - 22 December 2004, another example exhibited.
Estimate: SEK 150 000 – 200 000 / EUR 13 240 – 17 660 (d)
419A. Nathalie Djurberg & Hans Berg (Sweden, 1978–) ‘Things aren't quite 419B. Jesper Just (Denmark, 1974–) ‘The Lonely Villa (2004)’. Executed in 2004. DVD and DVCAM pal. 5:30 in. Edition 9/10 +2AP.
Omeros
A signed certificate accompanies the lot. Executed in 2002. 16mm film converted to Beta sub master & DVD. 18:15 min. Edition 8/10.
Provenance: Victoria Miro Gallery, New York.
Galleri Andreas Brändström, Stockholm. Acquired in 2005.
Exhibitions: Victoria Miro Gallery I, 'Paradise Omero and Baltimore', 9 September - 11 October 2003, another example exhibited. FWM, The Fabric Workshop and Museum, Philadelphia, 'Experiments with truth', 3 December 2004 - 12 March 2005, another example exhibited. Moderna Museet, Stockholm, 'The new human - you and I in global wonderland', 14 March - 18 October 2015, another example exhibited. Galerie Ron Mandos, Amsterdam, 20 January - 17 February 2018, another example exhibited. The Museum of Cultural History, Oslo, 'The sea is history', 7 March - 19 August, 2019, another example exhibited. The Irish Museum of Modern Art, 'Ghosts from the recent past', 1 September 2020 - 1 September 2021, another example exhibited.
Estimate: SEK 300 000 –400 000 / EUR 26 600 –35 500 (d)
419C. Isaac Julien (Storbritannien, 1960–) ‘Paradise
(single screen)’.
419D. Guy de Rougemont (France, 1935–2021) 'Bleu Vert'. Signed Rougemont on label. Executed in 1976. Numbered 6/10. Painted PVC. Height 167 cm.
Provenance: Gift in 1988. Thence by descent to the present owner.
Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 650 (d)
420. Mamma Andersson (Sweden, 1962–) 'Room Under the Influence'. Colour spitbite aquatint with aquatint and softground etching, 2008. Signed in pencil and numbered AP 2. Published by Crown Point Press, San Francisco. P. 53 x 91 cm, S. 76 x 111. cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)
421. Georg Baselitz (Germany, 1938–) 'Geteilter Held (Remix)'. Woodcut in colours, 2008. Signed in pencil and numbered 25/50. 99 x 50 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650 (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770
422. Christo & Jeanne-Claude (USA, 1935–2020) 'Orange Store Front, Project'. Color lithograph with collage of fabric, wrapping paper, staples, acetate plastic and galvanized iron. 1991. Signed Christo and numbered 97/100. Printed by Landfall Press, Chicago, published by Leif Holmer Gallery, Nässjö / Claes Distner Gallery, Karlshamn. 70 x 82 cm including plexi box.
423. Alexander Calder (USA, 1898–1976) 'Pyramid Rouge'. Color lithograph, circa 1970. Signed in pencil and numbered 16/75. S. 38 x 51.5 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210
Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 180
424. Alexander Calder (USA, 1898–1976) 'Black Sun'. Color lithograph, circa 1970. Signed in pencil and numbered 79/125. S. 79 x 58.5 cm. 425. Jim Dine (USA, 1935–) 'Wiesbaden', from 'Hearts from Nikolaistrasse'. Inkjet with photo-etching and hand painting, 2009. Signed in pencil, dated and numbered 15/17. I. 75.5 x 105 cm.Screenprint in colours. From the rare original edition. Signed in pencil and dated 1967. 51,5 x 44 cm.
Provenance: Photographer Sven Eric Delér. Gift from the artist Carl Johan De Geer during a visit and photo session at Galleri Karlsson in Stockholm in 1967, the day before the opening reception. Thereafter inherited within the family.
Bukowski Auktioner, 2020. Private Collection.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)
427.
spaziale (Red)'. Vacuum-formed plastic multiple, 1968. From the edition of unknown size, without the book. Published by Achille Mauri Editore, Milan. 29 x 29 cm.
Literature: Ruhe & Rigo M-15.
Estimate: SEK 40 000 – 50 000 / EUR 3 530 – 4 420 (d)
Lucio Fontana (Italy, 1899–1968) 'Concetto 426. Carl Johan De Geer (Sweden, 1938–) 'USA-mördare'.
from:
Lithograph in colours, 1985, on BFK Rives paper, signed in pencil, dated and numbered 53/60, published by Edition Schellmann, Munich/New York. L./S. 80.5 x 100 cm.
Literature: Littmann, p. 42–43.
Estimate: SEK 150 000 – 200 000 / EUR 13 240 – 17 660
428. Keith Haring (USA, 1958–1990) 'Untitled', 'Free South Africa'.429. Keith Haring (USA, 1958–1990) ‘Totem’. Woodcut in colours on three sheets, 1989. Signed in pencil and numbered PP 2/3. Published by Edition Schellmann, Munich and New York. Each 65 x 89 cm, overall 198 x 65 cm.
Literature: Littmann p. 158–9.
Estimate: SEK 500 000 – 700 000 / EUR 44 130 – 61 790
430. Damien Hirst (Great Britain, 1965–) 'Beautiful, Intelligent But Impetuous Nimbus Painting', from 'The Beautiful Paintings'.
Signed Damien Hirst. Giclée print on poly-cotton artist canvas mounted on a birch plywood stretcher, 2023. Signed Damien Hirst. Published by Heni Edition. Catalogue Number: H12-3. Edition Number: H12-3-444.
Diameter 40 cm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830 (d)
430A. Damien Hirst (Great Britain, 1965–)'Beautiful, Really Alive, Highly Exciting, Intensely Moving, Utterly Ridiculous, Thrilling To Contemplate Vapor Painting'
Signed Damien Hirst. Executed in 2023. Giclée print on poly-cotton artist canvas mounted on a birch plywood stretcher. From the series 'The Beautiful Paintings'. 23 cm in diameter. Heni Editions Catalogue Number: H12-4. Edition number H12-9-914.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300 (d)
431. Willem de Kooning (USA, 1904–1997) 'The Preacher'.
Lithograph, 1971. Signed in pencil and numbered 35/60. Printed at Hollanders Workshop and with their blindstamp. Issued by Hollanders Workshop and Fourcade, New York. I. 65 x 48.5 cm, S 76 x 56 cm.
Literature: Graham 27.
Estimate: SEK 40 000 – 60 000 / EUR 3 530 – 5 300
Book, comprising 26 prints in colours, including 16 lithographs, 5 Lambda prints, and 5 screenprints , 2006. Signed in pencil on the justification page, numbered 71/250, with text by the Artist, published by Cristea Roberts Gallery, London. Bound in original cloth cover, in the silk-covered slipcase (as issued). 43.5 x 31 x 2.5 cm.
Literature: Cristea 95.
Estimate: SEK 40 000 – 50 000 / EUR 3 530 – 4 420 (d)
Painted wooden box with motorised mirror, (1967)–2018.
Signed and numbered 46/80 on the publisher's label verso. 80 × 32 × 18 cm.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830
'Lotus
Pigmented
Signed in pencil and numbered 12/50. Published by Universal Limited Art Editions, New York. 151 x 114 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060
433. Julio Le Parc (Argentina, 1928–) ‘Formes en Contorsions’.
434. Robert Rauschenberg (USA, 1925–2008)
Bed I' from 'The Lotus Series'.
ink-jet on Somerset Velvet paper, 2008.
432. Julian Opie (Great Britain, 1958–)
‘Twenty Six Portraits by Julian Opie’.
435. Robert Rauschenberg (USA, 1925–2008)
‘Samarkand Stitches #III’.
Unique fabric assemblage with screenprint in colours, 1988. With the artist's embroidered signature and dating. From the edition of 74 unique variations, published by Gemini G.E.L., Los Angeles. 155 x 118 cm.
Provenance: Fabian Carlsson Gallery, London. Acquired by the current owner in 1988 from the above.
Literature: Gemini 1404.
Estimate: SEK 60 000 – 80 000 / EUR 5 300 – 7 060
436. Robert Rauschenberg (USA, 1925–2008)
‘Samarkand Stitches #I’.
Unique fabric assemblage with screenprint in colours, 1988. With the artist's embroidered signature and dating. From the edition of 71 unique variations, published by Gemini G.E.L., Los Angeles. 190 x 160 cm.
Provenance: Fabian Carlsson Gallery, London. Acquired by the present owner in 1988 from the above.
Literature: Gemini 1404.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830
437.
Unique fabric assemblage with screenprint in colours, 1988. With the artist's embroidered signature and dating. From the edition of 73 unique variations, published by Gemini G.E.L., Los Angeles. 150 x 138 cm.
Provenance: Fabian Carlsson Gallery, London. Acquired by the present owner in 1988 from the above.
Literature: Gemini 1406.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830
438. Robert Rauschenberg (USA, 1925–2008) ‘Rookery Mounds–Night Tork’.
Lithograph in colours, 1979. Signed and numbered 46/50. Published by Gemini G.E.L., Los Angeles (with their blindstamps). 104 x 78.7 cm.
Literature: Gemini G.E.L. 891.
Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210
Robert Rauschenberg (USA, 1925–2008) ‘Samarkand Stitches #II’.
Published by Tyler Graphics, Ltd., New York. 259 x 149 cm.
Literature: Glenn 215.
Estimate: SEK 80 000 – 100 000 / EUR 7 060 – 8 830
439. James Rosenquist (USA, 1933–2017) ‘Where the Water Goes (monumnetal work)’. Paper pulp, acrylic paint, dye and lithograph on paper, 1989. Signed and numbered 20/32.440.
Color lithograph mounted on aluminum, with etched and hand-colored rotating mirror, in a white-painted artist's frame, 2012. Signed in pencil and numbered 23/42. Published by Universal Limited Art Editions, New York. 74.5 x 65.5 cm, including frame: 77 x 69 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 300
Lithograph with monoprint collage printed in colors, 1986, signed in pencil, dated, titled and numbered 2/2, on Chiri Kozo paper, the collage elements on Somerset Satin paper, with the blindstamp of the publisher, Graphicstudio/U.S.F., Tampa, Florida. 99 x 105.5 cm
Literature: Glenn 206.
Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 650
441.
1928–2011) Untitled, from:
Screenprint and lithograph, 1973. Signed and numbered 137/300 in pencil on verso. Published by Experiments in Art and Technology, printed by Styria Studio, New York. S. 30.4 x 22.5 cm.
Literature: Bastian 38.
Estimate: SEK 30 000 – 35 000 / EUR 2 650 – 3 090
James Rosenquist (USA, 1933–2017) ‘To Infinity’.
Cy Twombly (USA,
‘New York Collection for Stockholm’.
440A. James Rosenquist (USA, 1933–2017) ‘Kabuki Blushes’.
442. Andy Warhol (USA, 1928–1987)
‘Venus’, from: ‘Details of renaissance paintings (Sandro Botticelli, Birth of Venus, 1482)’.
Screenprint in colours, 1984. Signed in pencil and numbered 22/70. Printed by Rupert Jasen Smith, New York, published by Editions Schellmann & Klüser, Munich/New York. I. 63,5 x 94 cm. S. 81 x 112 cm.
Literature: Feldman II.319.
Estimate: SEK 600 000 – 800 000 / EUR 52 960 – 70 610
Screenprint in colours, 1967. Signed Andy Warhol in pencil and numbered 189/250 with a rubber stamp on verso. Printed by Aetna Silkscreen Products, Inc./Du-Art Displays, New York, published by Factory Additions, New York, 91.2 x 91.2 cm.
Literature: Feldman & Schellmann II.25.
Estimate: SEK 600 000 – 800 000 / EUR 52 960 – 70 610
443. Andy Warhol (USA, 1928–1987) 'Marilyn Monroe (Marilyn)'.
444.
Screenprint in colours, 1970. Signed in ball-point pen on the verso and numbered 31/250 with a rubber stamp on verso. Printed by Aetna Silkscreen Products, Inc., New York, published by Factory Additions, New York. 91.5 x 91.5 cm.
Literature: Feldman & Schellmann 72.
Estimate: SEK 200 000 – 250 000 / EUR 17 700 – 22
Andy Warhol (USA, 1928–1987) 'Flowers'.SPRING 2024
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