Bukowskis | Contemporary Art & Design No 626 | November 2020

CONTEMPORARY ART & DESIGN VIEWING: NOV 5–9 | BERZELII PARK 1, STOCKHOLM AU C T I O N : N OV 1 0 | A R S EN A L S G ATA N 2 , S TO C K H O L M

For inquiries please contact Design & 20th Century Works of Art Eva Seeman, +46 708 92 19 69 eva.seeman@bukowskis.com

Design & 20th–21st Century Works of Art Jonatan Jahn, +46 703 92 88 60 jonatan.jahn@bukowskis.com

Design & 20th Century Works of Art Camilla Behrer, +46 708 92 19 77 camilla.behrer@bukowskis.com

Carpets, Textiles & Islamic Works of Art Anette Granlund, +46 708 92 19 92 anette.granlund@bukowskis.com

Head Specialist Art Andreas Rydén, +46 728 58 71 39 andreas.ryden@bukowskis.com

Photographs, Contemporary Art Karin Aringer, +46 702 63 70 57 karin.aringer@bukowskis.com

Contemporary Art Louise Wrede, +46 739 40 08 19 louise.wrede@bukowskis.com

Prints Marcus Kinge, +46 739 40 08 27 marcus.kinge@bukowskis.com

Cover: Banksy, Girl with Balloon.

CONTEMPORARY ART & DESIGN

Tuesday November 10 From 11 am (CEST) Contemporary Art & Design No 626 Number Design Contemporary Art

1 – 70 71 – 215

Photography

216 – 362

Prints

363 – 395

From 7 pm (CEST) Number Important Timepieces N° 627

1 – 85

LINN FERNSTRÖM

Linn Fernström’s painting in the auction, Flygförsök, was exhibited at the Lars Bohman Gallery in Stockholm. The show was reviewed in the daily Svenska Dagbladet: ‘She crashed onto the Swedish art scene almost 15 years ago, dividing it into two camps. Linn Fernström has undeniably aroused strong feelings every time she has stretched a piece of linen cloth across a sturdy frame and held her paintbrush against the canvas.

It is easy to recognise Fernström’s hand in the new works, shown at Bohman. The formats are large, the palette rich and the brushwork is powerful. The figures resemble ones we’ve met before. A young woman, with the artist’s features, wanders alone with her thoughts, closed off and mysterious, yet exposed to our gaze. A screaming naked baby reaches its arms towards empty space. Monkeys dance.

Wide–eyed children with serious expressions, as if no one taught them how to laugh. They are all there, surrounded by gigantic budgerigars, mayflies, smaller birds and clusters of balloons. These recurrent motifs are yet to be worn out. They continue to be the bearers of enigmatic histories.

Fernström’s painted worlds are ablaze with colour. If bright on the surface they are pitch–black within. There is something worryingly threatening in these scenes, oscillating between the white in the background and the blood–red that is almost dripping off the canvases.’

(Extract from Joanna Persman’s review in Svenska Dagbladet, 27/8/2014) Linn Fernström is an artist of contrasts. Extremes meet in her often large canvases; the beautiful encountering the grotesque, the idyllic clashing with terror, the ethereal mixed with power, and the momentous interplaying with the trivial. When all is said and done perhaps Fernström is an artist who paints ‘Life’. Without judging the ingredients that fill our days and years with events and impressions according to some assumed criteria, Fernström allows them to figure indiscriminately and interact together in a place decided upon by the artist. Fernström is a conductor who with an iron–fist leads an experimental orchestra. Does this sound paradoxical?

Perhaps, but therein lies her particular strength and originality.

Linn Fernström holds a unique position in Swedish contemporary art. Headstrong and insistent, completely uninterested in trends, she has created her own platform. And she is liberatingly brave too – painting large and figuratively in a time when, for many years now, art discourse has focused on research and process.

Fernström debuted in 2000, the same year she graduated from the Royal Institute of Art in Stockholm. Since then she has exhibited both in Sweden and abroad. Fernström has brought a Nordic tradition, where painting occupies an important position, into the 21st century. Her work is represented in, for example, the collections of Moderna Museet in Stockholm, Malmö Museum, Borås Konstmuseum and Linköpings konstmuseum.

128. Linn Fernström, ‘Flygförsök’.

Signed Linn Fernström and dated 2014 on verso. Canvas 211 x 301 cm. (d) Estimate: SEK 600 000 – 800 000 / EUR 57 590 – 76 780

3. Mario Marenco, a pair of ‘Cynthia’ ceiling lamps, for Artemide, Italy 1968.

1. Verner Panton, a set of 4 ‘Bubbel panels’, Lüber, Switzerland 1970’s.

Red plastic in relief, 60 x 60 cm.

Estimate: SEK 10 000 – 12 000 / EUR 960 – 1 160

2. Verner Panton, a ‘Fun 8DM Pendant’, ceiling lamp, Verpan, Denmark 21st Century.

Seashell discs, ceiling fixture in white lacquered MDF, three lamp sockets, height ca 210 cm, diameter ca 100 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

3. Mario Marenco, a pair of ‘Cynthia’ ceiling lamps, for Artemide, Italy 1968.

Brushed aluminum, height 160 cm, ca 63 x 63 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 840 – 5 760

4. Warren Platner, a model ‘1705’ easy chair, for Knoll International, post 1962.

Nickel plated steel rods, seat in orange textile, marked Knoll, height 99 cm.

Estimate: SEK 30 000 – 35 000 / EUR 2 880 – 3 360

5. Eero Saarinen, a ‘Tulip’ table for Knoll International, 1960–1970’s.

6. Eero Saarinen, a ‘Tulip’ table for Knoll International, 1960–1970’s.

Base in white lacquered metal, top in marble, marked with label Made in Italy Knoll, height 52 cm, diameter 50,5 cm.

Base in white lacquered metal, top in marble, marked with label Made in Italy Knoll, height 52 cm, diameter 50,5 cm.

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

7. Harry Bertoia, a pair of ‘Wide Diamond’ chairs, Knoll International, 1950–1960’s.

Black lacquered steel frame, upholstery in grey wool, height 70 cm, width 115 cm, seat height ca 41 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

8. Isamu Noguchi, a ‘Cyclone’ table, Knoll International 1950’s.

White laminate top, base in chrome plated metal rods on an iron plate, marked with label Knoll Associates Inc New York, height 72 cm, diameter ca 120 cm.

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

9. Henning Larsen, a set of 6 ‘model 9230’ chairs, Fritz Hansen, Denmark, post 1967.

Tubular steel frame, seat reupholstered in grey fabric, one with paper label dated 1968, height 67 cm, seat height 44 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

10. Massimo Vignelli, probably, a three lights ceiling lamp, Venini 1950’s.

Three glasshades in different coloured glass, brassfittings, each shade including brass mounts height 35 cm.

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

11. Charles and Ray Eames, ‘La Chaise’, Vitra 21st Century.

Fiberglass reinforced white plastic, base in chrome plated steel on oak legs, marked with Vitra label, height 90 cm, width 150 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

12. Ettore Sottsass, a ‘Tahiti’, table lamp, Memphis, Milan, post 1981.

Base in ‘Bacterio’ patterned laminated, polychrome enamelled metal, adjustable shade with one light socket, marked with label Memphis Milano E. Sottsass 1981 Made in Italy, height 69 cm.

Estimate: SEK 10 000 – 12 000 / EUR 960 – 1 160

13. Javier Mariscal & Pepe Cortes, ‘Movida’, sofa, Italy ca 1985.

Black and white patterned textile seat, backrest in black leather, base in grey lacquered metal, height ca 80 cm, length 260 cm, depth ca 100 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

14. A carpet, sheepskins, black dark brown green melange, ca 547 x 492–498 cm.

Sheepskins from New Zealand, sewn together.

Estimate: SEK 10 000 – 12 000 / EUR 960 – 1 160

15. Philippe Zunino, an unique easy chair/ sculpture, France, 1980’s.

Black och gold lacquered fiberglass reinforced plastic, marked with label Philippe Zunino Artiste Libre Nancy, height ca 86 cm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 960 – 1 160

16. Takashi Okamura & Erik Marquardsen, a ‘model 84’ sofa and easy chair, Nelo / Roche Bobois, post 1984.

Black lacquered wood and black leather, marked with label Roche Bobois, the height of the sofa 78 cm, length 230 cm, the height of the easy chair ca 78 cm, length ca 100 cm.

Literature: Danish Design Museum, Index ref, RP05495

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

17. Massimo Morozzi, a 7 pieces ‘Tangram set’ table, for Cassina, Italy 1980’s.

Beech wood, four with storage under the table tops, details consisting of black plastic plugs, marked with label Cassina Made in Italy, height 73 cm. The tables can be assembled in endless variations. When assembled as a dining table ca 170 x 170 cm.

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

18. Gérard Rigot, a sculptured and signed armchair, late 20th century.

Painted wood, decorated with mermaid motifs, Seat height 45 cm, height 79 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

19. Staffan Berglund, a unique executive desk, executed in 1985.

Stained oak, legs in green lacquered metal and one leg in glass, one sideboard with cabinet, length 315 cm, depth 47 cm, the desk height 74 cm, total width 222 cm.

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

20. Charles and Ray Eames, ‘LCW’, Evans Products Co USA, 1940’s.

21. Charles and Ray Eames, a ‘DCW’, chair, Evans Products Co USA, 1940’s.

Laminated walnut, rubber and aluminium mounts, height 65 cm.

Laminated oak, rubber mounts, height 73 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

22. Eero Saarinen, a marble top ‘Tulip’, table, Knoll International, executed on license by Nordiska Kompaniet NK Inredningar, 1960’s.

White lacquered aluminium base, remains of paper label, height 53 cm diameter of the top 91 cm.

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

23. Ilmari Tapiovaara, a pair of ‘Safari chairs’, a special commission, Laukaan Puu, Finland 1950’s.

Ash, textile upholstery, height ca 59 cm.

Provenance: These chairs were part of a special commission for a house in Helsinki.

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

24. Ilmari Tapiovaara, a side table, a special commission, Laukaan Puu, Finland 1950’s.

Birch, glass, height 52 cm, width 60 cm, depth 53 cm.

Provenance: This table was part of a special commission for a house in Helsinki.

Estimate: SEK 6 000 – 8 000 / EUR 580 – 770

25. Jørgen Høvelskov, a ‘The Harp Chair’, Christensen & Larsen, Denmark, 1970–1980’s.

Black lacquered ash, cord seat, height 130 cm.

Provenance: Illums Bolighus Copenhagen, Denmark.

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

26. Preben Fabricius & Jørgen Kastholm, a sofa table, model BO–552, for Bo–Ex, Denmark.

Slate top and steel base, 100 x 100 cm, height 43 cm.

Estimate: SEK 10 000 – 12 000 / EUR 960 – 1 160

27. Preben Fabricius & Jørgen Kastholm, a ‘Scimitar’ easy chair, Bo–Ex, Denmark.

Base in brushed steel, seat in red leather, marked with label Bo–ex Scimitar chair No 129 Made in Denmark, height 67 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

28. Poul Kjaerholm, a Hammock chair, ‘Pk–24’ for Fritz Hansen, Denmark 1984.

Seat in rattan, base in brushed steel, neck cushion in leather, marked with label Fritz Hansen 1984, adjustable height ca 90 cm, length ca 150 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

29. Poul Kjaerholm, an occasional table, ‘PK 65’, Fritz Hansen, 1987.

Brushed steel, top in flint rolled Carrara marble, marked with label Fritz Hansen 1987, height 38,5 cm, ca 100 x 100 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

30. Poul Kjaerholm, a ‘PK-0’ easy chair, edition 13/600, Fritz Hansen, Denmark 1997.

Black lacquered laminated beech wood, marked with label PK0 Poul Kjaerholm Fritz Hansen 13, height 69 cm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 360 – 3 840

31. Olle Bærtling, A rug, ‘Erey’, handtufted, Baertling/Asplund, ca 202 x 99–101 cm.

A design in green, red and black by Olle Bærtling. The carpet is produced

by Asplund in connection with the Baertling–stiftelsen (the Baertling– foundation) after a painting. It is handtufted in India around 1999. ‘Erey’ is produced in 50 examples. Two labels at the back.

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

33. Jonas Bohlin, a ‘Concrete’ armchair, Källemo, Värnamo, Sweden 1981.

32. Arne Norell, an ‘Ari’ easy chair and ottoman, Norell Möbel AB, Sweden, post 1966.

Base in brushed steel, black leather, marked with label, height 76 cm, height of ottoman 36 cm.

Estimate: SEK 30 000 – 35 000 / EUR 2 880 – 3 360

33. Jonas Bohlin, a ‘Concrete’ armchair, Källemo, Värnamo, Sweden 1981.

Concrete and iron, signed PROVEX jB, height 90 cm, width 49 cm, depth 57 cm, seat height 45,5 cm. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 600 – 14 400

34. Thomas Sandell, a ‘Panik’ cabinet, edition 84/100, Stockholm 1990.

Led covered door embellished with three Dalecarlian horses.

Signed and numbered 84/100 in May 1990. Height 151,5 cm, 34,5 x 27 cm. (d)

Estimate: SEK 6 000 – 8 000 / EUR 580 – 770

35. Mats Theselius, an ‘Aluminium’ easy chair, Källemo, Sweden post 1990.

Aluminum, beech, seat and back upholstered with braided birch bark, marked with metal label ALUMINIUMFÅTÖLJ No EA 5/5 MATS THESELIUS 1990 KÄLLEMO AB, seat height 48 cm, height 73 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

36. Maria Hägglund, A textile, ‘Källvatten’, ca 72 x 54,5–55 cm, signed at the lining MH. Lined.

Provenance: A lottery prize in the art and design lottery of the Svenska Handelsbanken 2016. Bought to the lottery for 15.000 SEK. (d)

Estimate: SEK 4 000 – 5 000 / EUR 390 – 480

37. Jonas Bohlin, a ‘Slottsbacken’ cabinet, Källemo, Sweden post 1987.

Stained oak, sheet iron, the interior with five glass shelves, marked with plaque SLOTTSBACKEN av JONAS BOHLIN 1987 för KÄLLEMO-VÄRNAMO-SWEDEN. Produced in 200 ex 1/200 – 200/200 and 10 ex signed 1/X – X/X. Number 92/200 JONAS BOHLIN, height 210 cm, width 70 cm, depth 37 cm. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 600 – 12 000

38. Karin Björquist, a 54 pieces ‘Nobel’ bone china dinner service, Rörstrand, Sweden post 1991.

Decorated in yellow, blue, green and gold, stamped Rörstrand NOBEL DESIGN KARIN BJÖRQUIST BONE CHINA. 12 bowls with covers 12 plates, yellow (diam 21 cm) 12 plates, green (diam 21 cm) 12 plates, white (diam 25 cm) 6 plates, blue (diam 25) Unused, in original cartons.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

39. Gunnar Cyrén, a set of 144 pieces of ‘Nobel’ flatware, Gense, Sweden, post 1991.

Gold and silver plated stainless steel, maker’s marks NOBEL GUNNAR CYREN GENSE. 12 dinner forks (length 19,5 cm) 12 dinner knives (length 22 cm) 12 table spoons (length 18,7 cm) 24 fish forks (gold plated) 24 fish knives (gold plated) 12 dessert forks (gold plated, length 16,7 cm) 12 dessert spoons (gold plated, length 16,5 cm) 12 dessert forks (length 16,7 cm) 12 dessert knives (length 18,5 cm) 12 dessert spoons (length 16,7 cm) Unused, in original cartons.

Estimate: SEK 10 000 – 12 000 / EUR 960 – 1 160

40. Gunnar Cyrén, a set of 18 ‘Devil’ shot glasses, from the ‘Nobel’ series, Orrefors, Sweden post 1996.

All in different painted colours and gold, signed GC and different painters’ signatures in gold and label marked. Height ca 16,5 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

41. Mats Theselius, an, ‘Älgskinnsfåtöljen’, easy chair, Källemo, Sweden post 1991.

Iron plate, beech wood, seat in elk leather, marked ÄLGSKINNSFÅTÖLJ MATS THESELIUS 1991 130/360 KÄLLEMO SWEDEN, height 78 cm, seat height 47 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

42. Thomas Sandell, an occasional table for Asplund, Sweden, post 1995.

Solid birch and turquoise lacquered steel, height 48,5 cm, width 129,5 cm, depth 65 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

43. Mats Theselius, an ‘El Rey’ brass and black leather armchair, Källemo, Sweden post 1999.

Signed el Rey by Mats Theselius 1999 Nr: 60/360 copies for Källemo, Sweden, seat height 31–36 cm. (d)

Estimate: SEK 50 000 – 75 000 / EUR 4 800 – 7 200

44. Kersti Sandin & Lars Bülow, a ‘Hommage Josef Frank’, cabinet for Karl Andersson & Söner, Husqvarna, Sweden 1985.

Lacquered in red with black details and a semicircular mirror on top.

Marked and signed ‘HOMMAGE JOSEF FRANK DESIGN SANDIN & BÜLOW SKÅP NR: 13. AB KARL ANDERSSON & SÖNER HUSKVARNA SWEDEN’ and signed Sandin & Bülow. Height 159, width 65, depth 30 cm.

Estimate: SEK 15 000 – 18 000 / EUR 1 440 – 1 730

45. Mårten Claesson, a unique ‘Dino’ bookshelf, prototype executed at Konstfack, Stockholm 1992.

Wood lacquered in certified Ferrari Rosso Corsa red car paint, one lamp in the top shelf, height 200 cm, width 60 cm, depth 65 cm.

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

37. Jonas Bohlin, a ‘Slottsbacken’ cabinet, Källemo, Sweden post 1987.

46. Jerszy Seymour, an ‘Amateur Workshop chair’, Studio Jerszy Seymour, Berlin ca 2010.

Pine, polycaprolactone wax, height 74 cm, seat height 44 cm.

Exhibitions: THE FUTURE IS HANDMADE, Form/Design Center 05/06 – 07/09 2014.

RIAN 20/9 – 30/10 2014 Kalmar konstmuseum 12/02 – 21/04 2014

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

47. Per B Sundberg, a ‘Moskva 1980’ glass vase, Orrefors, Sweden 2004, limited edition.

Pink matte ground with polished decor in black, white underlay.

Signed Orrefors Limited 2004 9643-87 Per B Sundberg 4–70.

Height 47,3 cm, diameter 18 cm. (d)

Estimate: SEK 6 000 – 8 000 / EUR 580 – 770

48. A carpet, sheepskins, brown red camel coloured melange, ca 985 x 541,5 cm.

Sheepskins from New Zealand, sewn together.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

49. Attila Suta, a chest of drawers, in an edition of 10, Studio Attila Suta 2015.

The front with relief, walnut and black stained ash, drawers in ash, height 79,5 cm, width 100 cm, depth 40 cm.

Estimate: SEK 10 000 – 12 000 / EUR 960 – 1 160

50. Jonny Johansson, a ‘Studie No 1’, easy chair, Acne Studios by O.H. Sjögren, Tranås, Sweden 2010.

Upholstered in a light blue fabric fabric, Width 94 cm, depth 155 cm, height 84 cm, seat height 44 cm.

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

51. Jan Klingler, a ‘Bacteria Lamp’, Studio Jan Klingler / The Glassfactory Boda, Sweden 2019.

Glass, bacteria, resin, silicone, LED–light, marked Jan Klingler, height ca 26 cm, diameter ca 40 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

54. Lotta Lampa, a unique ‘Tjabo Thunder Light’, floor lamp, Studio Lotta Lampa, Sweden 2020.

52. Woytek Weidne and Caroline Axell, a pair of ‘POP_UP CHAIRS’, executed in an edition of 60 by Martin Altwegg 2014.

Executed in plywood and valchromat and mounted with one screw.

Signed and numbered 16 and 22. Height 77 cm, seat height 45 cm.

Provenance: Pop up restaurant Dill, Stockholm 2014. (d)

Estimate: SEK 6 000 – 8 000 / EUR 580 – 770

53. Lars Stensö, ‘Woodstock’, a unique chair, Studio Lars Stensö, Sweden 2013.

Black plywood, amonium smoked and soaped oak, seat in leather, height 84 cm.

Exhibitions: Artipelag, Ett, Två, Trä, 2013. Salone el mobile Milano april 2012.

Stockholm furniture fair feb 2013. (d)

Estimate: SEK 6 000 – 8 000 / EUR 580 – 770

54. Lotta Lampa, a unique ‘Tjabo Thunder Light’, floor lamp, Studio Lotta Lampa, Sweden 2020.

Blue metallic ‘Thunder blue special metallic’ lacquered steel, signed Lotta Lampa 2020, height 175 cm.

Exhibitions: A different version is represented in The Vitra Design Museum and was shown at the Salone de Mobile in Milan 2018. This model was also exhibited at Lotta Lampa’s solo exhibitions at Kalix Konsthall, Norrbottens museum in Luleå, and GKF Visby, Sweden.

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

55. Maarten Baas, a set of eight ‘Smoke Dining Chairs’, Moooi.

Blackened wood, black leather upholstery, marked with metal plaques, each chair with additional acrylic paint. Height ca 104 cm, seat height 50 cm.

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

56. Mats Theselius, an ‘El Dorado’ easy chair for Källemo, Sweden, post 2002.

57. Mats Theselius, an ‘El Dorado’ easy chair for Källemo, Sweden, post 2002.

Brass, natural brown leather, birch, label marked EL DORADO by Mats Theselius 2002 No 212/360 KÄLLEMO AB SWEDEN, seat height ca 47 cm, height 78 cm, width 65 cm.

Brass, natural brown leather, birch, label marked EL DORADO by Mats Theselius 2002 No 278/360 KÄLLEMO AB SWEDEN, seat height ca 47 cm, height 78 cm, width 65 cm.

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Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

58. Bertil Vallien, A carpet, tufted, ca 139,5–140,5 x 196–199 cm, signerad B. Vallien 13/300.

(Bertil Vallien). A sand-coloured ground with light grey wave-like ornaments and a rod in black and red. A leather label comes with the lot.

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

59. Nick Ross, a unique ‘White Lies’, floor vase, Studio Nick Ross 2017.

59A. Hanna Hansdotter a “Stucco print” glass sculpture, The Glass Factory, Boda Glassworks, Sweden 2019.

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Mould blown and silvered glass, color: Pink Celadon Metallic, signed Hanna Hansdotter AP10 2019, height 36 cm. This is the nr 10 in an edition of 13. Glassblower Björn Friborg + Mikael Jacobsson.’ (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

Lacquered Carrara marble, height 90 cm.

JONAS BOHLIN The carpet Vårtecken 1 (Spring Sign 1), with its thin branches of gently budding flowers, is a brilliant interpretation of those first delicate signs of green that delight us each spring. Jonas Bohlin, well known for his furniture, demonstrates here his ability to be just as innovative in other materials and styles – from hard concrete and steel to the softness of flax.

On the website of rug company Kasthall it says: ‘Jonas Bohlin’s philosophy is that every design and colour already exist in nature and that a love of all that is around us will lead to new discoveries. He is inspired by the Nordic landscape and its distinct seasons.’

Internationally known for his interior design, his furniture, lamp fittings, glass and works of art Jonas Bohlin has still more on his CV. He has both a degree in con– struction engineering and interior architecture and received a lot of attention for his graduation project, the armchair Concrete, for which he later, in 1983, was awarded the ‘Excellent Swedish Design Award’. Bohlin must have been an incredibly inspiring professor of furniture design at Konstfack – the University of Arts, Crafts and Design – when he taught there. He also founded the ‘Form’ design degree in 1992 at Beckman’s College of Design.

Jonas Bohlin and Thomas Sandell designed the interiors of the iconic restaurant Rolfs Kök. As such they created what became the restaurant’s signature look of concrete walls with bolts for hanging chairs or clothes on, a central open kitchen, bare light bulbs and the unique ‘double toilet’.

The interior design for the brasserie Luzette, also in Stockholm, won Bohlin the prestigious ‘Guldstolen’ prize, awarded for his perfectionism down to the very last detail.

60. Jonas Bohlin, A carpet, ‘Vårtecken 1’, hand tufted, ca 441 x 281 cm, Kasthall.

Two labels at the back. Kasthall’s website: ‘Vårtecken’ is a hand tufted carpet in 100% flax. Jonas Bohlin’s philosophy is that every design and colour already exists in nature and a love for that which is already surrounding us will lead to new discoveries.

He is inspired by the Nordic landscape with its different seasons.’ (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

61. Dan Wolgers, a table lamp / sculpture, ‘Skulptur I (Glödlampor)’, unique, 2007.

Painted wood, bakelite, light bulbs, signed and dated Dan Wolgers 2007, height ca 60 cm.

Provenance: CF Hill, Stockholm.

Private collection, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

62. Marie-Louise Ekman, a bench/sofa, executed for the Marie-Louise Ekman exhibition at Moderna Museet, Stockholm 2017.

Pink lacquered MDF, signed ML Ekman 2017, width 140 cm, depth 47 cm height 56 cm.

Exhibitions: Moderna Museet, Stockholm, ‘Marie-Louise Ekman’, 17.6 2017 – 17.9 2017. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

63. Marie-Louise Ekman, a bench/sofa, executed for the Marie-Louise Ekman exhibition at Moderna Museet, Stockholm 2017.

Pink lacquered MDF, signed ML Ekman 2017, width 140 cm, depth 47 cm, height 56 cm.

Exhibitions: Moderna Museet, Stockholm, ‘Marie-Louise Ekman’, 17.6 2017 – 17.9 2017. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

64. Fredrik Paulsen, Kristoffer Sundin and Simon Klenell, 4 chairs, made exclusively for the restaurant Omnipollo in Gothenburg Sweden, 2018.

Pink lacquered metal, seats in green coloured wood, seat height 45 cm, height 86 cm.

Provenance: Restaurant Omnipollo, Gothenburg.

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

65. Philippe Starck, a ‘Laguiole’, sculpture/architecture model, edition 103/500, O.W.O, post 1987.

66. Philippe Starck, a ‘Moondog’, sculpture/architecture model, edition 124/500, O.W.O, post 1987.

Aluminium, signed and numbered STARCK in OWo No 103/500, height 26 cm.

Aluminium, signed and numbered STARCK in OWo No 124/500, height 12 cm, 19 x 5,5 cm.

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Estimate: SEK 5 000 – 6 000 / EUR 480 – 580

Estimate: SEK 5 000 – 6 000 / EUR 480 – 580

67. Philippe Starck, a ‘Miss Zenzen’, sculpture/architecture model, edition 99/500, O.W.O, post 1986.

68. Philippe Starck, a ‘Miss Zenzen’, sculpture/architecture model, edition 72/500, O.W.O, post 1986.

Aluminium, signed and numbered STARCK in OWo No 99/500, height 26 cm.

Aluminium, signed and numbered STARCK in OWo No 72/500, height 26 cm.

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Estimate: SEK 5 000 – 6 000 / EUR 480 – 580

Estimate: SEK 5 000 – 6 000 / EUR 480 – 580

69. Philippe Starck, an ‘Asahi’, sculpture/architecture model, edition 27/500, O.W.O, post 1986.

70. Philippe Starck, a ‘Nani Nani’, sculpture/architecture model, edition 117/500, O.W.O, post 1986.

Aluminium, signed and numbered STARCK in OWo No 27/500, height 14 cm, 18 x 19 cm.

Aluminium, signed and numbered STARCK in OWo No 117/500, height 26 cm.

(d)

(d)

Estimate: SEK 5 000 – 6 000 / EUR 480 – 580

Estimate: SEK 5 000 – 6 000 / EUR 480 – 580

71. Barbro Östlihn, ‘Brooklyn Bridge’.

Signed Östlihn and dated 63. Canvas 46 x 51 cm.

Provenance: baudoin lebon, Paris.

Private Collection, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

72. Marie–Louise Ekman, ‘Den konstälskande människan’.

Signed M. L. de Geer Bergenstråhle and dated 1981. Gouache on silk, frame by the artist, total 37 x 28 cm.

Provenance: Galleri Hylteberga, Skurup.

Private collection, Stockholm.

Exhibitions: Moderna museet, Stockholm, ‘Marie–Louise Ekman’, 17 June – 17 September 2017.

Literature: Moderna Museet, ‘Marie–Louise Ekman’, 2017, illustrated p. 118. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

73. Jens Fänge, Untitled.

Signed Jens Fänge and dated –02 on verso. Canvas 46 x 37.5 cm.

Provenance: Galleri Arnstedt och Kullgren, Östra Karup. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

74. Peter Frie, Untitled.

Signed Peter Frie and dated 2002 on verso. Canvas 50 x 55 cm. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 800 – 6 720

75. Joakim Ojanen, ‘Kalle Anka’.

Signed Joakim Ojanen and dated –15. Glazed ceramic. Height 14 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

76. Ylva Carlgren, Utan titel.

Watercolour on paper 73 x 51.5 cm.

Provenance: Gallery Steinsland Berliner, Stockholm.

Exhibitions: Gallery Steinsland Berliner, Stockholm, ‘Ylva Carlgren, 300 Layers’, 16 March – 15 April 2018. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

HELENE BILLGREN The artwork in the auction, Little Rock, was first displayed at Angelika Knäpper Gallery in Stockholm in the spring of 2009, at the exhibition that came to be Helene Billgren’s public breakthrough. The show was called Free Kitten and the painting Little Rock was illustrated on the invitation to the private view.

Helene Billgren’s first major retrospective was at Färgfabriken in Stockholm in 1999; then followed by another one at Borås konstmuseum in 2012. Last year she once more presented a large–scale exhibition of works spanning her entire career, this time at Liljevalchs Konsthall in Stockholm. The exhibition was entitled All Clear and ran until late autumn 2019. Jessica Kempe reviewed the exhibition in the daily Dagens Nyheter and wrote the following lines about Billgren’s personal and brilliant painting style:

as if just on the doorstep of adventure. Sometimes she is found right in the middle of the landscape, up to her knees in colour. Occasionally she joins other horse–girls.

What is she doing there? It’s as if she’s paying art a visit. A guide observing what the observers observe. At the same time it is a visual aid allowing women the freedom and the permission to reshuffle romantic landscape painting – perhaps the most sacred form of expression for men.

Because isn’t Helene Billgren’s girl also a younger sister to artist Caspar David Friedrich’s male wanderer, who alone gazes out across a longed–for, impenetrable scene of nature.’

Dagens Nyheter 19th October 2019.

‘Yes, the figure of the girl is still there in her painting. It is she who guides us out into the multi–layered shimmering mountains, the magnificent skies, the dark valleys, the sweeping swirls of colour and the mirages of cities.

She is almost always seen from behind, often at the bottom of the painting,

79. Helene Billgren, ‘Little Rock’.

Signed Helene Billgren and dated 08 on verso. Panel 82 x 74 cm. (d) Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

92. Jan Håfström, ‘Walker med måne’.

Signed Jan Håfström and dated 2008. Panel 60.5 x 60.5 cm. (d) Estimate: SEK 125 000 – 150 000 / EUR 12 000 – 14 400

77. Lars Lerin, ‘En natt i Agadir’.

Signed Lars Lerin and dated 2017. Watercolour on paper 51 x 77 cm. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 600 – 12 000

78. Oskar Korsár, Untitled.

Signed Oskar Korsár. Paper 43.6 x 52 cm. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 880 – 3 360

79. Helene Billgren, ‘Little Rock’.

Signed Helene Billgren and dated 08 on verso. Panel 82 x 74 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Exhibitions: Liljevalchs konsthall, Stockholm, ‘faran är över’, 11 October – 8 December 2019.

Borås konstmuseum, ‘Helene Billgren – The End’, 20 October 2012 – 13 January 2013.

Angelika Knäpper Gallery, Stockholm, ‘Free Kitten’, 19 March – 19 April 2009.

Literature: SAK, Borås konstmuseum, ‘Helene Billgren, The End’, 2012, illustrated fullpage p. 49. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

80. David von Bahr, ‘Untitled 5’.

Signed David von Bahr and dated 2018 on verso. Acrylic, charcoal and oil on canvas 197 x 155 cm.

Provenance: Galleri Steinsland Berliner, Stockholm.

Exhibitions: Galleri Steinsland Berliner, Stockholm, ‘Our Winter Show 2018’, 30 November 2018 – 26 January 2019. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 360 – 3 840

81. Marie–Louise Ekman, ‘Lamm med sin mor’.

Signed M.L. Ekman och dated 1997 on label. Fake fur, plastic figures and acrylic glass. Height 15.5, width 15.5, depth 15.7 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

82. Zoe Barcza, ‘Conapt 3’.

Signed Z Barcza and dated 2015 on verso. Acrylic, flashe on linen 195 x 140 cm.

Provenance: Loyal Gallery, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

83. Martin Wickström, ‘Wyatt Earp’.

Signed and dated with monogram –13, also signed Martin Wickström 2013 on verso. Oil on panel 41 x 36 cm.

Provenance: Angelika Knäpper Gallery, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

84. Jacob Dahlgren, ‘Peinture abstraite numero cent trente quatre’.

Signed Jacob Dahlgren and dated 2006 on verso. Panel 34 x 29.3 cm. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 730 – 1 920

85. Håkan Rehnberg, Untitled.

Signed Håkan Rehnberg and dated 1998 on verso.

Oil on acrylic glass 101,2 x 125 cm.

Provenance: Galerie Nordenhake, Stockholm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

86. Malin Gabriella Nordin, ‘Gone Away’.

Signed MGN and dated –18. Flashe on canvas 140 x 95 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

87. Magnus ‘NUG’ Gustafsson, Utan titel.

Signed NUG and dated 2013 on verso. Spray paint on window blind 200 x 124. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

88. Carl Hammoud, ‘The Convention’.

Signed Carl Hammoud and dated 2005 on verso. Canvas 70 x 80 cm.

Provenance: Galleri Magnus Karlsson, Stockholm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

89. Anders Knutsson, Untitled.

Signed Anders Knutsson and dated 1982. Oil and wax on handmade paper 86 x 79 cm. Mounted in plexi glass frame.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

90. Lisa D Manner, ‘Icing’.

Signed and dated Lisa D Manner 2015 on verso. Oil on panel 40 x 30 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

91. Roj Friberg, ‘Mosken’.

Signed with monogram and dated 04. Mixed media 60 x 83 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

92. Jan Håfström, ‘Walker med måne’.

Signed Jan Håfström and dated 2008. Pannå 60.5 x 60.5 cm.

Exhibitions: Liljevalchs konsthall, Stockholm, ‘Mörkrets hjärta’, 18 April – 21 May, 2009. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 000 – 14 400

93. Ulrik Samuelson, ‘Utan titel (Pokal)’.

Signed Ulrik Samuelson and dated –00 on verso.

Canvas 93 x 93 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

94. Lars Lerin, ‘Bestefars hus’.

Signed Lars Lerin and dated 1998/2006/2009.

Watercolour on paper 102 x 150 cm. (d)

Estimate: SEK 200 000 – 250 000 / EUR 19 200 – 24 000

95. Ylva Ogland, ‘Xenia with candle, cut poppy capsule, poppy flower syringue and wisdom teeth’.

Signed Ylva Ogland on verso. Also signed Ylva Ogland and dated 2012–13 on the overlap. Canvas 38 x 47 cm.

Provenance: Fruit and Flower Deli, Stockholm.

Exhibitions: Bonniers Konsthall, ‘Hon i fyra akter’, 22 April – 26 July, 2015.

Literature: Bonniers Konsthall och Silvana Editoriale, ed. Sara Arrhenius and others, ‘Ylva Ogland, She, an introduction’, Stockholm, 2015, illustrated fullpage p. 41. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

96. Peter Frie, Untitled.

Signed P Frie on verso. Canvas 120 x 180 cm.

Provenance: Galleri Lars Bohman, Stockholm. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 000 – 14 400

97. Clay Ketter, ‘Follow # 1’.

Signed Clay Ketter and dated 1995 on verso. Spackle on wallpaper on gypsum wallboard, wood frame, 110 x 100 cm.

Provenance: Galleri Andreas Brändström, Stockholm.

Literature: Clay Ketter, Galleri Andreas Brändström, Jay Joplin/Wite Cube, Sonnabend Gallery 2000, ‘Clay Ketter: Labors of love. Love’s labors lost’, illustrated p. 43. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

98. Bigert & Bergström (Mats Bigert, Lars Bergström), ‘F5’.

Executed in 2012. UV–print on glass and aluminum 120 x 160 cm.

Provenance: Gallery Niklas Belenius, Stockholm.

Exhibitions: Belenius Gallery, Stockholm, ‘The Storm’, 1 September – 29 September 2012.

Estimate: SEK 40 000 – 60 000 / EUR 3 840 – 5 760

99. Alexander Klingspor, ‘Vintergatan’.

Signed A. Klingspor. Canvas 80 x 90 cm.

Provenance: Galleri Agardh & Tornvall, Stockholm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

100. Sigrid Sandström, Untitled.

Signed Sigrid Sandström and dated 2009 on verso.

Acrylic on panel 122 x 153 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

CECILIA EDEFALK The diptych was first shown at Cecilia Edefalk’s debut exhibition at Galleri Thomas Wallner in Malmö in 1988. The show was widely admired and reviewed. The double portrait depicts a person looking at themselves in the mirror. Isn’t it brilliantly painted?! As Carl–Johan Malmberg wrote ‘A woman contains a man, each being incorporating another, and this ‘other’ also carries images of a self’.

Cecilia Edefalk (b. 1954) is one of Sweden’s most important living artists.

Edefalk works with painting, photography, sculpture and installation.

Since the 1990s she has also been represented internationally.

101. Cecilia Edefalk, Utan titel.

Signed C. Edefalk and dated 88 on verso. Diptych. Canvas 50 x 35 cm each. (d) Estimate: SEK 250 000 – 300 000 / EUR 24 000 – 28 790

OLA BILLGREN During the period when Ola Billgren (1940–2001) was active he became the Swedish artist that first, and most clearly, defined the relationship between art as a language on the one hand and reality on the other. He has been called both a theoretician and a sensualist. He was able to capture history and contemporary life in a single image.

In the 1980s, after the photorealistic and experimental period of the 60s and 70s, romantic painting on large canvases and in impressionistic colours overwhelmed him.

According to the works' titles it was large townscapes that were emerging from deep within the colours. We see the city as an abstraction or as a dream, only alluded to in a lingering feeling or atmosphere. The perspective is remote, overhead, viewed from a descending aeroplane that has just emerged from a cloud.

It is a way of painting that, like music, evokes a specific feeling for a given duration and which allows the viewer/listener to ascribe their own images, passions and dreams to it. The town and the landscape become increasingly distinct and powerful to the viewer, after which the process continues to unfold. The eye’s limited visual field makes it impossible for the gaze to pierce through the paint the way emotions can – the language of art opening alternative ways into painting and the image, beyond the capabilities of sight.

The white town entices us from behind its white veils.

Monica Nieckels 122. Ola Billgren, ‘Townscape, SPA’.

Signed Ola Billgren and dated 1988. Canvas 122 x 167.5 cm. (d) Estimate: SEK 500 000 – 700 000 / EUR 47 990 – 67 180

101. Cecilia Edefalk, Utan titel.

Signed C. Edefalk and dated 88 on verso. Diptych.

Canvas 50 x 35 cm each.

Provenance: Galleri Thomas Wallner, Malmö 1988.

Karl–Erik Johansson Collection, Sweden.

Exhibitions: Galleri Thomas Wallner, Malmö 1988. (d)

Estimate: SEK 250 000 – 300 000 / EUR 24 000 – 28 790

102. Håkan Rehnberg, Untitled.

Signed Håkan Rehnberg and dated 1990 on verso.

Oil on lead mounted on iron 120 x 100 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

103. Lisa D Manner, ‘Ravine’.

Signed Lisa D Manner and dated 2011 on verso. Canvas 200 x 200 cm.

Exhibitions: Lisa D Manner, ‘Lisa D Manner’, 2012, illustrated p. 107. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

104. Meta Isæus–Berlin, ‘Körsbärsträdet’.

Signed Meta Isæus–Berlin and dated 2012 on verso.

Canvas 140 x 140 cm.

Provenance: Galleri Andersson/Sandström, Stockholm. (d)

Estimate: SEK 120 000 – 140 000 / EUR 11 520 – 13 440

105. Carl Fredrik Reuterswärd, ‘Non–Violence’.

Signed CFR and numbered 15/150. Patinated steel sculpture, length 25 cm, height 18 cm. On marble base, length 32 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

106. Sigrid Sandström, Untitled.

Signed Sigrid Sandström and dated 2009 on verso.

Acrylic on panel 122 x 153 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

LENA CRONQVIST ‘One thing is clear it is Cronqvist’s girls who are in charge of this puppet– world. They are not victims. They have their own free will. They’re in command of their world, these tables, baths and waters’ writes Mårten Castenfors in the book Lena Cronqvist published by the Swedish Association for Art (SAK) in 2003.

who can master colour and its endless possibilities like Cronqvist can. Once more the painting becomes a stark reminder that an image is only that – an image, and the physical world exists outside of it. Cronqvist’s work rarely leaves the viewer indifferent.

A time for being girls. The moment when life is fresh and exciting and you learn something new everyday. Hours spent in make–believe worlds. Days of skipping–ropes endlessly circling round and round during break times and afternoons. Lena Cronqvist's work tenderly captures this magical time.

Since the 1970s Cronqvist has been one of Sweden’s most celebrated artists.

With a unique artistic confidence, great intimacy and a tangible sensuality she has portrayed her experiences of growing up, being a mother and of family life. Her childhood is a recurring theme, explored in depth by Cronqvist in both paintings and sculptures.

The present painting shows a girl jumping over her skipping rope, wearing a red bow in her hair, matching red shorts, and a bright yellow sweater, against a multi–coloured gridded background. The grid is a prominent feature in Cronqvist’s paintings of girls from the mid–1990s. Few are those

107. Lena Cronqvist, ‘Flicka med hopprep’.

Signed Lena Cronqvist and dated 1995 on verso. Canvas 150 x 121 cm. (d) Estimate: SEK 350 000 – 400 000 / EUR 33 590 – 38 390

MARTIN WICKSTRÖM Martin Wickström’s painting H, vilken resa (H, what a journey) from 2006 is painted from the reporting of a true story. The chimpanzee Ham (the full name of ‘H’) became world famous in 1961 when, on the 31st of January that year, he survived a highly treacherous trip into space and landed in the Atlantic Ocean. Ham was the chimpanzee chosen by NASA to test fly the Mercury 3, after two years of training and out of an original group of 40 monkeys.

Following Ham’s 1961 space flight it was only a few months until, on the 5th of May 1961, the USA sent their first astronaut, Alan Shepard, into space

on the Mercury 3. Yet the race to be the first in space was won by the former USSR, when on the 12th of April 1961 cosmonaut Yuri Gagarin became the first human in space.

Upon his death in 1983 Ham’s achievement was recognised with an official memorial service.

124. Martin Wickström, ‘H, What a Journey…’.

Signed Martin Wickström and dated 2007 on verso. Canvas 167 x 124 cm. (d) Estimate: SEK 120 000 – 150 000 / EUR 11 520 – 14 400

107. Lena Cronqvist, ‘Flicka med hopprep’.

Signed Lena Cronqvist and dated 1995 on verso. Canvas 150 x 121 cm.

Provenance: Galleri Lars Bohman, Stockholm. (d)

Estimate: SEK 350 000 – 400 000 / EUR 33 590 – 38 390

108. Bigert & Bergström (Mats Bigert, Lars Bergström), ‘Power Station #3’.

From the series ‘Inverted Space Molecules’. Object. UV–printed photographs on vinyl foil, acrylic globes, LED bulbs, cable, 50 x 100 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

109. Hertha Hanson, ‘#215’.

Signed Hertha Hanson and dated 2017 on verso. Oil on canvas 200 x 150 cm.

Provenance: Anna Bohman Gallery, Stockholm.

Exhibitions: Anna Bohman Gallery, Stockholm, ‘Hertha Hanson’, 19 January – 19 February 2017. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 880 – 3 360

110. Linn Fernström, ‘Verklighets kontakt’.

Signed Linn Fernström and dated 2009. Pastel on paper 67 x 50 cm. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 800 – 6 720

111. Ulrik Samuelson, Untitled.

Signed US. Oil on canvas 104 x 104 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Efter Naturen’, 16 February– 7 April 2013. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 840 – 5 760

112. Ola Billgren, ‘Profil. Diana’.

Signed Ola Billgren and dated –92. Canvas 62 x 54 cm.

Literature: Douglas Feuk and Anne Ring Petersen, ‘Ola Billgren – Paintings’, 2000, pictured in colour page 274. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 400 – 19 200

113. Marie–Louise Ekman, ‘Hunger/Pink Silk Book’.

Signed M. L. De Geer Bergenstråhle and dated 1975. Watercolour on silk, faux fur 90 x 120 cm. (d) Estimate: SEK 250 000 – 300 000 / EUR 24 000 – 28 790

113. Marie–Louise Ekman, ‘Hunger/Pink Silk Book’.

Signed M. L. De Geer Bergenstråhle and dated 1975.

Watercolour on silk, faux fur 90 x 120 cm.

Provenance: Galleri Bonniér, Genève.

Galerie Daniel Varenne, Genève.

Collection Daniel Varenne, Genève.

La Galerie Parisienne, Paris.

Private collection, France.

Exhibitions: Musée d’Art Contemporain et Moderne, Genève, ‘L’Antichambre’, 1 – 24 July 1993. (d)

Estimate: SEK 250 000 – 300 000 / EUR 24 000 – 28 790

114. Truls Melin, Untitled.

Signed Truls Melin and dated 2004. Mixed media.

Height ca 100 cm, width ca 75 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

115. Lukas Göthman, ‘Journal’.

Signed L Göthman and dated 2013 on verso.

Canvas 100 x 190 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

116. Alfred Boman, ‘U Mad’.

117. Andreas Eriksson, ‘Car passes at 19:24. 15/10, 2010’.

Signed Alfred Boman and dated 2012 on verso.

Canvas in artit’s frame 131.5 x 97 cm.

Signed Andreas Eriksson and dated 2011 on verso. Acrylic on dibond 100 x 85 cm.

(d)

Provenance: Galleri Riis, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

118. Charlotte Gyllenhammar, ‘Hinder och Förklädnader 2/Obstacles and Disguises 2’.

Signed C.G. and dated 2003. Edition 1/2. Polyester. Height 42 cm, length 56 cm, width 25 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Exhibitions: Galleri Charlotte Lund, ‘Charlotte Gyllenhammar, Obstacles and Disguises’, 16 October – 29 November 2003. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 600 – 14 400

119. Jeff Olsson, ‘#15 Spider!’.

Executed in 2009. Pencil and charchoal on paper 66.5 x 91 cm including frame.

Provenance: Galleri Thomassen, Gothenburg.

Exhibitions: Galleri Thomassen, Gothenburg, ‘Laughter and Applause’, 12 March – 12 April 2009. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

120. Juri Markkula, ‘Carminground’.

Signed Juri Markkula and dated 2016 on verso.

Pigmented polyvinyl, polyurethan 49.5 x 49.8 x 15 cm.

Provenance: Lars Bohman Gallery, Stockholm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

121. Hanna Lidén, ‘Untitled’.

Folding chair, concrete and pigment, 90 x 46 x 47 cm. Executed in 2013.

Certificate accompanies the lot.

Provenance: Maccarone, New York.

Carl Kostyál, Stockholm.

Exhibitions: Carl Kostyál, Stockholm, ‘Awaiting Immanence’, 19 April – 19 May 2013. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

122. Ola Billgren, ‘Townscape, SPA’.

Signed Ola Billgren and dated 1988. Canvas 122 x 167.5 cm.

Provenance: Karl–Erik Johanssons Collection, Sweden.

Literature: Karl–Erik Johansson, ‘Samla sitt liv, Konstälskarens bilderbok’, 2010, illustrated fullpage p. 59 (d)

Estimate: SEK 500 000 – 700 000 / EUR 47 990 – 67 180

123. Peter Frie, Untitled.

Signed Peter Frie and dated 2006 on verso. Canvas 80 x 120 cm.

Provenance: Arnstedt & Kullgren, Östra Karup, Sweden. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 600 – 12 000

124. Martin Wickström, ‘H, What a Journey…’.

Signed Martin Wickström and dated 2007 on verso. Canvas 167 x 124 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Exhibitions: Angelika Knäpper Gallery, ‘Art Cologne’, Cologne, 2007.

Literature: Lars Liljendahl and Greger Ulf Nilson (red), ‘Martin Wickström, 99_09’, 2009, illustrated p. 460. (d)

Estimate: SEK 120 000 – 150 000 / EUR 11 520 – 14 400

125. Rolf Hanson, Untitled.

Signed Rolf Hanson and dated –93 on verso. Panel 100 x 100 cm. (d)

Estimate: SEK 70 000 – 80 000 / EUR 6 720 – 7 680

126. Ernst Billgren, ‘Finsk sjö’.

Signed EB. Also signed Ernst Billgren and dated –88 on verso.

Oil/mosaic on panel 119 x 125 cm.

Provenance: Thordén Gallery, Gothenburg.

Stockholms Auktionsverk, Modern Art & Works of Art, April 29, 2009, kat nr 1011.

Private collection.

Exhibitions: Konsthallen, Luleå, ‘Ernst Billgren vs Wilhelm von Kröckert’, 27 January – 29 March, 2017.

Borås Konstmuseum, ‘Ernst Billgren vs Wilhelm von Kröckert’, 16 September 2016 – 15 January 2017. (d)

Estimate: SEK 250 000 – 300 000 / EUR 24 000 – 28 790

127. Carl Hammoud, ‘Lifetime Achievement (Workspace)’.

Signed Carl Hammoud and dated 2009 on verso. Canvas 100 x 125 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Exhibitions: Galleri Magnus Karlsson, Stockholm, ‘Carl Hammoud, Retrospective’, 2 October – 7 November 2009. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 000 – 14 400

128. Linn Fernström, ‘Flygförsök’.

Signed Linn Fernström and dated 2014 on verso.

Canvas 211 x 301 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Linn Fernström, Talk bubble on a straw’, 21 August – 21 September 2014.

Literature: Lars Bohman Gallery, ‘Linn Fernström, Målningar och skulpturer’, 2014, illustrated fullpage p. 13. (d)

Estimate: SEK 600 000 – 800 000 / EUR 57 590 – 76 780

129. Olav Westphalen, ‘Loose Diamond’.

Executed in 2010. Ink on paper 100 x 108 cm.

Provenance: Milliken, Stockolm.

Exhibitions: Moderna Museet, Stockholm, ‘Modernautställningen’, 2 October 2010 – 9 January 2011. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

130. Truls Melin, ‘Skuggad Bläckfisk’.

Sculpture, three pieces. Executed in 1998. Edition of 5.

Moulded latex and painted wood. Height 81 cm, length 82 cm, width 43 cm. (d)

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

131. Dick Bengtsson, ‘Målning’.

Signed Dick Bengtsson. Executed in 1986. Mixed media on panel 70.4 x122 cm.

Provenance: Stockholms Auktionsverk, 22 May 2012.

Exhibitions: Lunds Konsthall, ‘Dick Bengtsson’, 1994.

Göteborgs Konstmuseum, Gothenburg, ‘Dick Bengtsson’, 13 January – 25 March 2001.

Moderna Museet, Stockholm, ‘Dick Bengtsson’, 21 January – 30 April, 2006.

Literature: Mårten Castenfors (ed.), ‘Dick Bengtsson’, SAK, 2005, illustrated on p. 150. (d)

Estimate: SEK 300 000 – 350 000 / EUR 28 790 – 33 590

132. Clay Ketter, ‘4 Composition No 2’.

Signed Clay Ketter and dated 1994 on verso. Gypsum, wallboard, spackle, wood with steel edges, height 220 cm, width 242.5 cm, depth 12.2 cm.

Provenance: Jay Jopling, London.

Privat collection, Stockholm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

133. Roj Friberg, ‘Skymning’.

Signed with monogram and dated –74. Mixed media 122 x 147 cm.

Literature: Lars Nygren, ‘Roj Friberg’, 2010, compare image p. 69. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

134. Jockum Nordström, ‘No. I (modern)’.

Signed Jockum and dated 2013 and numbered 1/10 on the underside.

Published by Salon Verlag & Edition, Cologne. Unique painted cardboard sculpture 9.7 x 11.2 cm.

Provenance: Gerhard Theewen, founder of Salon Verlag, Cologne. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

135. Jockum Nordström, ‘No. II (classic)’.

Signed Jockum and dated 2013 and numbered 2/10 on the underside.

Published by Salon Verlag & Edition, Cologne. Unique painted cardboard sculpture 8.5 x 14.1 cm.

Provenance: Gerhard Theewen, founder of Salon Verlag, Cologne. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

136. Alfred Boman, Untitled.

Signed Alfred Boman and dated 2014 on verso.

Canvas in artist’s frame 108 x 90.5 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

BARBRO ÖSTLIHN Östlihn kept a detailed record of all the facades and houses that she photographed, and which came to serve as the sources for her paintings. Many buildings were being torn down and replaced by tower blocks in New York City at the time. As Östlihn wandered through the city with her camera she ended up documenting, in her stylised paintings of facades, the big city in transformation.

The painting in the auction forms part of the Wall series, executed in the 1970s, where each piece shared the same approximate measurements.

Her painting style was becoming increasingly abstract, made up of vertical and horizontal patterns, and the paintings were often in shades of brick red or blue. In the Wall series a shift took place and the focus was now on the walls of buildings in the process of being torn down – ruins of a kind.

They are impressions of lives already lived.

137. Barbro Östlihn, ‘6 Avenue Wall’.

Signed Östlihn and dated 1973 on verso. Oil on canvas 177.5 x 152.5 cm. (d) Estimate: SEK 130 000 – 150 000 / EUR 12 480 – 14 400

PAUL FÄGERSKIÖLD In 2018 Paul Fägerskiöld was awarded the Åke Andrén Foundation’s artist’s grant. The jury consisted of artist Karin Mamma Andersson, museum director David Neuman of Magasin III Stockholm Konsthall, and museum director Karin Sidén of Prins Eugens Waldemarsudde. They gave their reasons for awarding the grant as follows: ‘Paul Fägerskiöld (b. 1982) is, with his analytical approach to painting, one of the most interesting artists of our time. In his painting he often simplifies his medium in order to maximise different expressions. Fägerskiöld’s unique art appears strict, precise and powerful, whilst at the same time evasive and playfully open. The seriousness communicated in his work is combined with a relaxed attitude towards the tradition of painting. His thought–provoking paintings also express a poetic precision and examine the borderline between sign and colour. In carefully chosen nuances and with different sized canvases he works in a visual language that appears both refined and meditative.’

Paul Fägerskiöld, who was born in Stockholm, today lives and works in New York. He has had several solo shows both internationally and in Sweden, most recently in 2020 at Galerie Nordenhake in Stockholm.

Fägerskiöld’s work has also been included in a number of group shows, including at Bonniers Konsthall, Artipelag, Wanås and the Museum of Modern Art, Bremen. In 2013 he was the recipient of the Fredrik Roos scholarship and was, in connection with the award, exhibited at Moderna Museet in Malmö.

167. Paul Fägerskiöld, ‘Untitled’.

Signed Paul Fägerskiöld and dated 2014 on verso.

Acrylic on canvas 142 x 170 cm, with walnut frame 144 x 171 cm. (d) Estimate: SEK 175 000 – 200 000 / EUR 16 800 – 19 200

137. Barbro Östlihn, ‘6 Avenue Wall’.

Signed Östlihn and dated 1973 on verso. Oil on canvas 177.5 x 152.5 cm.

Exhibitions: Foster Gallery, New York, 1974.

Marian Goodman Gallery, New York, 1978.

Moderna Museet, Stockholm, ‘Barbro Östlihn: Målningar från New York, Stockholm, Paris 1962–1983’, 21 January – 4 March 1984, cat. No. 23.

Literature: Björn Springfeldt (red), ‘Barbro Östlihn: Målningar från New York, Stockholm, Paris 1962–1983’, 1984, exhibition catalogue Moderna Museet, illustrated.

Annika Öhrner, ‘Barbro Östlihn. Liv och konst’, 2003, illustrated pl. No 25. (d)

Estimate: SEK 130 000 – 150 000 / EUR 12 480 – 14 400

138. Ola Billgren, ‘Skugga’.

139. Emanuel Röhss, ‘Live Oak Drive’.

Signed Ola Billgren and dated –92 on verso. Canvas 195 x 135 cm.

Signed Emanuel Röhss and dated 2015 on verso. Canvas 235 x 105 cm.

Literature: Douglas Feuk and Anne Ring Petersen, ‘Ola Billgren – Paintings’, 2000, pictured in colour p. 252–253. (d)

(d)

Estimate: SEK 200 000 – 300 000 / EUR 19 200 – 28 790

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

140. Maria Miesenberger, ‘Quintuplets (Quintus)’.

Executed in 2007. Gypsum, stocking, mixed media 15 x 43 x 22 cm.

Galss box (26 x 57 x 37 cm) and plinth (height 100 cm) accompanies the lot.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Strandverket, Marstrand, ‘Maria Miesenberger, Prescence of Time’, 28 March – 9 June 2013.

Literature: Strandverket, ‘Maria Miesenberger, Prescence of Time’, 2013, illustrated p. 57 and fullpage p. 62. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

141. Ulrik Samuelson, ‘Det skall vara blommor i år’.

Signed US and signed Ulrik Samuelson and dated –12 on verso.

Oil on canvas 100 x 100 cm.

Provenance: Galerie Aronowitsch, Stockholm.

Exhibitions: Kungliga Akademien för de Fria konsterna, Stockholm, ‘En subjektiv historia’ 23 August – 23 September 2012. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

142. Helene Billgren, ‘I barnkammaren’.

Signed Helene Billgren on verso. Tissue mounted on panel 30 x 23 cm.

Exhibitions: Borås konstmuseum, Kulturhuset, ‘Yvonne’, 11 March – 8 May 1990. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

143. Ragnar Persson, Utan titel.

144. Andreas Eriksson, ‘Almoso #1132.

Signed Ragnar and dated 2011. Paper 57 x 39 cm, double sided.

Signed Andreas Eriksson and dated 2003–4 on verso.

Oil on polytoil 75 x 60 cm.

(d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

Provenance: Galleri Riis, Oslo. (d)

Estimate: SEK 120 000 – 150 000 / EUR 11 520 – 14 400

145. Barbro Bäckström, ‘Flyer’.

Executed in 1976. Iron net, height 100, width 250, depth 40 cm.

Exhibitions: Liljevalchs konsthall, Stockholm, ‘Barbro Bäckström’, 8 April – 28 May 2000.

Literature: Bo Nilsson ed., Liljevalchs konsthall, Kulturförvaltningen, ‘Barbro Bäckström’, 2000, exhibition catalogue, illustrated double page p. 38–39.

Malmö Konstmuseum, Göran Christenson, Bo Nilsson and others. ‘Tomrum’, 1999, exhibition catalogue, illustrated double page p. 122–123. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

146. Lars Lerin, Utan titel.

Signed Lars Lerin and dated 2014. Watercolour on paper 114 x 76 cm.

Provenance: Lars Bohman Gallery, Stockholm. Acquired in 2014.

Exhibitions: Lars Bohman Gallery, Stockholm, Lars Lerin, ‘Arkiv’, 2 October – 2 November 2014. (d)

Estimate: SEK 175 000 – 200 000 / EUR 16 800 – 19 200

147. Ann Edholm, ‘Hon’.

Signed Ann Edholm and dated 2003 on verso. Canvas 180 x 180 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

148. Martin Wickström, ‘French Connection’.

Signed Martin Wickström and dated 2001 on verso. Painted fretted panel ca 51 x 25 x 7 cm, object, cord and lamp. Edition 9/15.

Provenance: Dep,art,ment, Stockholm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 960 – 1 160

149. Peter Frie, Untitled.

150. Kristina Jansson, ‘Yellow Pushing Pulling’.

Signed Peter Frie and dated Berlin 2003 on verso.

Canvas 193 x 148 cm.

Signed Jansson and dated 08. Canvas 63 x 50 cm.

(d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

Estimate: SEK 175 000 – 200 000 / EUR 16 800 – 19 200

(d)

151. Dan Wolgers, ‘Projektionsduk III’.

151 A. Patrick Nilsson, Utan titel

Signed Dan Wolgers and dated 1998 on verso. From the series ‘Projektionsduk I – VI’. Framed projection cloth, 81 x 99 cm including frame.

Signerad Patrick Nilsson och daterad 2007 på etikett a tergo.

Papper 148,7 x 170 cm.

(d)

(d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

152. Ola Billgren, ‘Getting dark’.

Signerad Ola Billgren och daterad –89 a tergo. Diptyk.

Olja på duk 194 x 118 cm och 194 x 90 cm.

Provenance: Galleri Engström, Stockholm Literature: Douglas Feuk and Anne Ring Peterson, ‘Ola Billgren – Paintings’, 2000, pictured in colour on pages 248–249. (d)

Estimate: SEK 300 000 – 400 000 / EUR 28 790 – 38 390

153. Anders Knutsson, ‘Race Street Covered, VII #51’.

Signed Anders Knutsson and dated 1975 on verso.

Oil and wax on cotton canvas 87 x 84 cm.

Provenance: Galleri Mårtenson & Persson, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

154. Roj Friberg, ‘Skeppsvrak’.

Signed with monogram and dated 07. Mixed media 57 x 75 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

155. Linn Fernström, ‘Gammal kvinna’.

Signed Linn Fernström and dated 2006. Canvas 120 x 105 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Linn Fernström’, 30 August – 28 September 2008.

Literature: Lars Bohman Gallery, ‘Linn Fernström, Målningar 2006–2008’, illustrated fullpage p. 25. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

156. Ernst Billgren, ‘Tronen’.

Signed EB/MT and numbered 6/100.

Iron, mosaic, enamel and leather.

Executed 1991. Width 24, height 36 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

157. Lena Svedberg, ‘Agent, 007 – U hjälpen’.

Signed Lena Svedberg and dated –68. Mixed media/collage on paper 99 x 63.5 cm. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 730 – 1 920

158. Jarl Ingvarsson, ‘Andedräkt’.

Signed Jarl Ingvarsson on verso. Canvas 73 x 60 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

159. Ulf Rahmberg, ‘Juli–Sep’.

Signed with monogram and dated 1961 on verso. Canvas 144 x 82 cm.

Exhibitions: Borås Konstmuseum, ‘Ulf Rahmberg, Lustarnas Trädgård och Civilisationens Nedräkning’, 2012.

Literature: Ulf Rahmberg, Borås Konstmuseum, ‘Ulf Rahmberg, Lustarnas Trädgård och Civilisationens Nedräkning’, 2012, illustrated fullpage p. 21. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

160. Lena Svedberg, ‘Sociala skikt’.

Signed Lena Svedberg. Executed in 1966–1967. Mixed media and collage 62 x 89 cm.

Provenance: Johan Kugelberg Collection.

Literature: Riksutställningar, ‘Sköna stund’, 1968, illustrated on p. 13. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

161. Ilja Karilampi, ‘Sierra Leone Police Headquarters’.

Executed in 2016. Engraved aliminum and fabric 200 x 100 cm.

Exhibitions: Sven Harrys Konstmuseum, Stockholm, ‘Swedish Art: Now!’, 20 April – 6 June 2016. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 880 – 3 360

162. Joakim Ojanen, ‘Just Relax, We Are Together Now’.

Signed Joakim Ojanen and dated 2018. Charcoal on paper 109 x 75 cm.

Provenance: Christian Larsen, Stockholm, Sweden.

Literature: Joakim Ojanen, IPMOS Books, ‘Joakim Ojanen, Charcoal drawings 07.02.2019–12.05.2020’, 2020, illustrated fullpage p. 31. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

163. Alexander Klingspor, ‘Iron Gate’.

Signed A. Klingspor and dated New York 2008 on verso.

Oil on canvas 122 x 97 cm.

Provenance: Arcadia Fine Arts, Inc., New York, USA. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 000 – 14 400

164. Martin Gustavsson, Utan titel (John); from the series ‘Ipower’.

Signed Martin Gustavsson and dated 2006 on verso. Canvas 126 x 189 cm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 840 – 5 760

165. Fredrik Åkum, ‘Xerox Dust’.

Signed Fredrik Åkum and dated 2017 on verso. Canvas 130.5 x 90.5 cm.

Provenance: Galleri Steinsland Berliner, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

166. Peter Frie, Untitled.

Signed Frie. Oil on paper 11 x 7 cm. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 730 – 1 920

167. Paul Fägerskiöld, ‘Untitled’.

Signed Paul Fägerskiöld and dated 2014 on verso.

Acrylic on canvas 142 x 170 cm, with walnut frame 144 x 171 cm.

Provenance: Andersen’s Contemporary, Copenhagen. Bought in 2014.

Exhibitions: Andersen’s Contemporary, Copenhagen, 2014. (d)

Estimate: SEK 175 000 – 200 000 / EUR 16 800 – 19 200

168. Fernandez Arman, Untitled.

Signed Arman and numbered 93/100. Executed in 1987. Horizontally sliced Statue of Liberty on an incorporated rectangular base, polished and patinated bronze, height 74 cm. (d)

Estimate: SEK 70 000 – 90 000 / EUR 6 720 – 8 640

169. Roger Risberg, ‘Häst’.

Signed Roger Risberg and dated 2009 on verso.

Acrylic on canvas 60 x 73 cm.

Provenance: Galerie Bel’Art, Stockholm.

Exhibitions: Galerie Bel’Art, Stockholm, ‘Roger Risberg, Pånyttfödelse – nya målningar’, September – October 2009.

Literature: Roger Risberg and Galerie Bel’Art, Stockholm, ‘Roger Risberg, Pånyttfödelse – nya målningar’, 2009, illustrated fullpage p. 61. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 730 – 1 920

170. Olli Lyytikäinen, ‘Kärlek i krig’.

Signed Olli Lyyt and dated 1981. Watercolour 31 x 41 cm.

Exhibitions: ROSC, Dublin, 19 August – 15 October 1988.

Galleri Engström, Stockholm, 1987.

Malmö Konsthall, 7 June – 18 August 1986.

Musee des Arts Decoratifs, ‘Art Contemporain en Scandinavie’, Paris, 25 March – 6 June 1986.

The Solomon R Guggenheim Museum, (…) (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 840 – 5 760

171. Olli Lyytikäinen, ‘Elegi, Brutus’.

Signed and dated 1979. Watercolour and chalk on paper 26 x 35 cm.

Provenance: Björn Springfeldt Family Collection, Stockholm.

Exhibitions: Ateneum, Helsinki, ‘Hommage á Olli Lyytikäinen’, 8 October 2019 – 5 January 2020.

Salon Taidemuseuo, Helsinki, 7 June– 28 September 2014.

Nordiska Akvarellmuseet, Tjörn, ‘Olli Lyytikäinen’, 2 March – 4 May 2014. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

172. Olli Lyytikäinen, ‘Nallen Vauva’.

Executed 1982. Ink on paper 23 x 15.5 cm.

Provenance: Björn Springfeldt Family Collection, Stockholm.

Exhibitions: Ateneum, Helsinki, ‘Hommage á Olli Lyytikäinen’, 8 October 2019 – 5 January 2020.

Nordiska Akvarellmuseet, Tjörn, ‘Olli Lyytikäinen’, 2 March – 4 May 2014.

Kiasma, Helsingfors, ‘Olli Lyytikäinen’, 30 September 2000 – 14 January 2001. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

173. John Stockwell, Untitled.

Signed John Stockwell and dated –01. Canvas 91.5 x 52.5 cm.

Provenance: Galleri Leger, Malmö. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 360 – 3 840

174. Fernandez Arman, ‘Ukulele’.

175. Thomas Broomé, ‘Sleepwalker’.

Signed Arman and numbered 55/99. Bronze height 30 cm .

Editioned by Art Multi, Paris.

Signed and dated Broome –13 on verso. Acrylic on canvas 60 x 40 cm.

(d)

Provenance: Galleri Magnus Karlsson, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

Estimate: SEK 10 000 – 12 000 / EUR 960 – 1 160

176. Odd Nerdrum, Untitled.

Signed ON. Panel 50 x 34 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

177. Julian Opie, ‘View From My Hotel Room’.

Executed in 2008. Digital video (Continuous computer animation/LCD screen), published/produced by Alan Cristea Gallery, London/ Torch Computers, Cambridge, 2008. 27.8 x 35.5 x 4.5 cm. Ed. 64 / 200. In original box.

Provenance: Alan Cristea Gallery, London.

Wetterling Gallery, Stockholm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

178. Fernandez Arman, Cellopige.

Signed Arman. Foundry mark Bocquel fd. Numbered 24/50.

Bronze, brown patina. Height 37.5 cm, length 18 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

179. Nathalie Djurberg & Hans Berg, ‘Crocodile, Egg, Man’ from ‘I am Saving this Egg for Later’.

Executed in 2012. A signed certificate accompanies the lot. Metal wire, clay, fabric, silicone, putty, acrylic paint, glue. Crocodile and egg: 36 x 53 x 25 cm. The man: 53 x 24 x 20 cm. Box in acrylic glass and a plint accompanies the lot, total height of 150.5 cm. (d) Estimate: SEK 300 000 – 400 000 / EUR 28 790 – 38 390

N AT H A L I E D J U R B E R G & H A N S B E R G Nathalie Djurberg is one of Sweden’s most internationally sought after artists. She is continuously working on new projects together with her partner Hans Berg, who makes all the music that accompanies her pieces.

The relationship between humans, animals and forces of nature is the constant, vibrant theme that occupies their shared universe. Stop motion animations using clay figures, spatial installations and sculptures form the foundation of their work.

The sculpture ‘Crocodile, Egg, Man’ has been shown in the duo’s project “The Black Pot”. The installation consists of three parallel video works shown in a darkened room furnished with seating shaped as glazed doughnuts and fried eggs, all designed by Djurberg. The piece has been exhibited, amongst other places, at Garage Center for Contemporary Art in Moscow during the summer of 2013.

The theme of the project is the origin of life. Where do we come from?

How is an idea born? The video works examine the issue in three separate ways. One of the pieces is, for example, a more abstract, naïve film, without clay figure animations, where amoebas and circle–shaped cells are divided and joined together in a continual process. The video where the crocodile, the man and the egg appear shows the animal and the wizardlike figure digging an egg out of the earth, which they then fight over.

Garage Center for Contemporary Art described the installation as follows: ‘The Black Pot – Djurberg and Berg’s latest project – differs greatly from previous works insofar as the film does not contain scenes of violence, graphic sexual imagery or extreme physiological states. Instead, a certain poetic and metaphorical abstraction emerges within the fragmented narrative. Drawing on classical mythology, Djurberg plays with the subject of ontogenesis (the transformation of an organism from an egg to a mature form). The Black Pot, like all the films by the artist, is accompanied by the eccentric and hypnotic music of Hans Berg.’

In 2018 the largest solo exhibition to date of Djurberg and Berg’s animations, sculptures and music, ‘A Journey Through Mud and Confusion With Small Glimpses of Air’, was shown at Moderna Museet in Stockholm. Over the last decade they have had a strong presence on the international art scene, previously exhibiting at the Venice Biennale, The New Museum in New York and the 21st Century Minsheng Art Museum in Shanghai as well as at the Lisson Gallery in London, Zach Feuer Gallery in New York and with Gió Marconi in Milan.

ROBERT RAUSCHENBERG Robert Rauschenberg (1925–2008) discovered the ‘solvent–transfer’ technique during a stay in Cuba with Cy Twombly, in the spring of 1952.

The technique entails borrowing a ready–made image from printed material by dissolving it chemically then transferring the image onto a new surface by rubbing the back of the image with a dry pen nib. This method broke off with traditional, academic procedures, which Rauschenberg was used to, having studied art. In this way he was now able to include mass media images, so characteristic of the Pop artist generation, in his own work. In contrast to many others of his Pop artist contemporaries Rauschenberg’s pieces were handmade, rather than mechanically produced by someone other than the artist or on a large scale. Furthermore, he would often include images that he himself had taken. Rauschenberg’s artistic practice becomes something more personal, presenting a complex visual language.

In the catalogue introduction to the major retrospective of his work shown at Tate Modern in London and MoMA in New York, Frances Morris and Glenn D. Lowry wrote in 2016:

‘'I want to escape categories', Robert Rauschenberg once told the critic Calvin Tomkins. In his rejection of conventional boundaries – between art and nonart, between media, between disciplines – Rauschenberg created new modes of working that would provide foundations for generations to come. His expansive approach anticipated interests in interdisciplinary work and performative action, conceptual gesture and material process, that have shaped the art of our day.’

188. Robert Rauschenberg, ‘Untitled’.

Signed Rauschenberg and dated 1968. Watercolour, pencil and dye transfer 46 x 37 cm.

Estimate: SEK 800 000 – 1 000 000 / EUR 76 780 – 95 970

182. Klara Lidén, ‘Untitled (Poster Painting)’.

Executed in 2013. Mixed media ca 88 x 65 x 14 cm. A signed certificate of authenticity, issued by Galerie Neu, accompanies the lot. (d) Estimate: SEK 800 000 – 1 000 000 / EUR 76 780 – 95 970

KLARA LIDÉN Klara Lidén (b. 1979) is an artist who has truly broken through, and is now regularly exhibited internationally. Galleries in Berlin, London and New York represent her and she has already had several important museum exhibitions, including a solo show at the New Museum in New York, curated

by Massimiliano Gioni of the Venice Biennale. Furthermore her work has been shown at the Serpentine Gallery in London, at MoMa in New York, at Jeu de Paume and Centre Georges Pompidou in Paris, and at the Venice Biennale. The art world’s heavyweight curator, Hans Ulrich Obrist, has spoken of her as ‘one of the great artists of the 21st century’.

In November 2013 Klara Lidén was awarded the prestigious Friends of Moderna Museet Sculpture Prize. The jury’s statement read as follows: ‘Klara Lidén is an artist who explores with precision the poetic and political possibilities of a space. Her sculptural works involve the body, architecture and the city in their examinations of the limits of the public and the private.

In a number of exhibitions shown across the world she has succeeded in extracting surprising artistic energies from everyday materials and spaces.’

Both in her films and her installations we encounter an artist who refuses to exist in a mundane system and who refuses to be engulfed by societal and cultural structures. She de–constructs and re–constructs, she removes something from its context and gives it a new dwelling in another place.

Klara Lidén’s work was shown at Moderna Museet for the first time in 2007. She called her exhibition Unheimlich Manöver. What she did was to empty her flat of its entire contents. Every single thing was packed and pressed together into a gigantic mass, which was then displayed at the museum.

In 2008 she made the video The Myth of Progress (Moonwalk), in which she glides backwards through a night time New York. Her soft, floating reverse–walk clashes with the tempo of her surroundings and brings to mind a kind of parallel existence and the idea that several worlds co–exist without necessarily touching. This is also the case in other pieces, such as

Self Portrait with Keys to the City (2005), where the viewer comes to understand that the city may consist of several different cultural and social layers, which Lidén is able to elegantly reshape and reveal. It is a recurrent theme that is still central to Lidén’s artistic practice. In the film Grounding from 2018, shown in her exhibition at Galerie Neu in 2019, a figure (the artist?) wanders through Lower Manhattan, suddenly collapsing, then getting up and continuing on, then collapsing again. This is repeated throughout the almost six–minute long film.

After her big international breakthrough, including a special mention at the 2011 Venice Biennale, Lidén had her second exhibition at Moderna Museet in Stockholm. This time she blocked the entrance to the exhibition space, forcing the visitors to go back through the main entry and instead, in order to access the rooms where a comprehensive retrospective exhibition was laid out, enter by a side door. Through seemingly simple methods she guides the viewer down new tracks, often making us realise, with both humour and a certain sense of blushing shame, what creatures of habit we are and how easy it is to upset what we expect of the world around us.

There is a strong sense of vulnerability and honesty in Lidén’s work; without playing games she displaces perspectives and ingrained ideas.

It is about the private sphere versus the public, the normative versus the provocative – both in art and in society as a whole. She pushes the envelope, something particularly evident in her Poster Paintings, where the borderline between painting and sculpture is being erased.

In the series Poster Paintings Lidén collected public posters from different cities, glued them on top of each other, finishing with a completely blank poster. With their jagged edges in different colours they create a sculptural form, allowing the viewer to discern that greatly different messages coexist in these glued–together posters without actually revealing anything of their content. The city is making itself heard with its multiple colourful and intrusive information flows – but Lidén quietens it with the use of the white monochrome.

179. Nathalie Djurberg & Hans Berg, ‘Crocodile, Egg, Man’ from ‘I am Saving this Egg for Later’.

Executed in 2012. A signed certificate accompanies the lot. Metal wire, clay, fabric, silicone, putty, acrylic paint, glue. Crocodile and egg: 36 x 53 x 25 cm. The man: 53 x 24 x 20 cm. Box in acrylic glass and a plint accompanies the lot, total height of 150.5 cm.

Provenance: Gió Marconi Gallery, Milano.

Exhibitions: Another example exhibited at Garage Center for Contemporary Art, Moscou, ‘The Black Pot’, 21 June – 25 August 2013.

Literature: Lena Essling (ed.), Moderna Museet, Stockholm, ‘Nathalie Djurberg’, 2018, illustrated fullpage. (d)

Estimate: SEK 300 000 – 400 000 / EUR 28 790 – 38 390

180. Julian Opie, ‘Roadscape 47’.

Signed Julian Opie and dated 2001 on verso.

C–print mounted on wood 25.5 x 40 cm.

Provenance: Wetterling Gallery, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

181. Yoshitomo Nara, Untitled.

Signed Nara. Paper 15 x 9.5 cm.

Provenance: Acquired from the artist.

Private collection, Denmark.

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

182. Klara Lidén, ‘Untitled (Poster Painting)’.

Executed in 2013. Mixed media ca 88 x 65 x 14 cm. A signed certificate of authenticity, issued by Galerie Neu, accompanies the lot.

Provenance: Galerie Neu, Berlin.

Private Collection, Stockholm, Sweden. (d)

Estimate: SEK 800 000 – 1 000 000 / EUR 76 780 – 95 970

183. Nathalie Djurberg & Hans Berg, ‘The Experiment (Forest)’.

Signed Nathalie Djurberg. Executed in 2009. Animated film, DVD+Digital Betacam, 7:31 mins. Edition 3/4 (+2 AP).

Provenance: Zach Feuer Gallery, New York Exhibitions: Another example exhibited at Moderna Museet, Stockholm, ‘Nathalie Djurberg & Hans Berg’, 16 June – 9 September 2018. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 600 – 11 520

184. Nathalie Djurberg & Hans Berg, ‘Feed All the Hungry Little Children’.

Signed Nathalie Djurberg. Executed 2007. Animated film, DVD, 6:32 mins.

Edition 3/4 (+2 AP).

Provenance: Zach Feuer Gallery, New York Literature: Germano Celant, ‘Nathalie Djurberg: Turn Into Me’, 2008, illustrated p. 180–181. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 600 – 11 520

185. Eddie Martinez, ‘Untitled’.

Signed and dated 06. Ink on paper 23 x 30 cm.

Provenance: Galleri Loyal, Stockholm.

Exhibitions: Galleri Loyal, Stockholm, ‘A Mini Carrot Experience, Eddie Martinez’, 27 January – 4 March 2006.

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

186. Richard Hambleton, ‘Splattered Marlboro Man’.

Signed R. Hambleton and dated –85 on verso.

Mixed media 23 x 10 x 10 cm. Glued in plexi glass cylinder.

Provenance: Stockholms Auktionsverk, ‘Moderna Kvalitén’, 6–7 November 2002, lot nr 872.

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

187. Katherine Bernhardt, ‘Kate Moss, Nude with a Black Tie’.

Signed Katherine Bernhardt and dated 2006 on verso. Canvas 152 x 122 cm.

Provenance: Galleri Loyal, Stockholm.

Exhibitions: Galleri Loyal, Stockholm, ‘Kiss Me Kate’, 9 March – 22 April 2007.

Estimate: SEK 100 000 – 150 000 / EUR 9 600 – 14 400

188. Robert Rauschenberg, ‘Untitled’.

Signed Rauschenberg and dated 1968. Watercolour, pencil and dye transfer 46 x 37 cm.

Provenance: Donald Morris Gallery, Birmingham Michigan.

Xavier Hufkens, Brussels. (#RAUS–001–1968) Cheim and Read, New York. (CR#RA.6384) Private Collection, California.

O’Hara Gallery, New York.

Private Collection, Stockholm.

Estimate: SEK 800 000 – 1 000 000 / EUR 76 780 – 95 970

189. Jonathan Lasker, Untitled.

Signed J. Lasker and dated 1996 on verso.

Oil and ballpoint pen on paper 11 x 15 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

190. James Brown, Untitled.

Canvas 190 x 190 cm.

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

J E A N T I N G U E LY Tinguely is kinetic sculpture’s foremost champion. Méta–Matics, his machines made from scrap metal, move nonsensically, clank and judder, occasionally stop. With their constantly changing patterns of movement they mock the culture of the perfect machine.

Swiss Jean Tinguely (1925–1991) moved to Paris in 1952 and in 1954 was already exhibiting at Galerie Arnaud, one of the two ‘avant–garde’ galleries in town. At that point there was a lot of interest in kinetic art. This was the first time since the war that a new and radical medium, beyond traditional painting, was being shown. Tinguely exhibited moving ‘paintings’ that he called ‘automata’; they consisted of black–painted boxes onto which white geometrical shapes were mounted. In the box there was a hidden mechanism consisting of a small electric motor turning a rubber belt round a wooden pulley.

The piece in the auction, Eléments blanc et bleu sur fond noir from 1955, is an elaboration on these first ‘automata’. There is no beginning or end; it is a perpetual motion machine, where the shapes, in white and blue, might return to their original positions perhaps tomorrow or perhaps in a hundred years.

1955 was an eventful year for Tinguely, he participated in a group show together with three other young artists; Agam, Bury and Soto, at the now highly regarded Galerie Denise René. Tinguely also moved into a new, more spacious studio, in the same building where Brancusi worked. During the spring and summer of that year Tinguely’s art practice developed quickly, and his mechanical relief sculptures became increasingly complex.

In September the artist arrived in Stockholm. The following month, on the 8th of October, his exhibition at Galerie Samlaren opened with 12 new reliefs and sculptures on show, all produced in Stockholm. The display of Tinguely’s work created a lot of commotion, with one lady even threatening to call the police.

The creator of Moderna Museet, Pontus Hultén, wrote about Tinguely’s relief sculptures in Jean Tinguely: Meta: ‘Tinguely had, rightly so, a feeling that with his new reliefs and sculptures he had opened a fresh chapter in the current art history. What particularly appealed to him was the fact that his machines were a kind of illustration of the principle of relativity, an applied relativism. They expose the constant change that everything is subjected to, unless it is frozen down to minus 273 degrees Celsius that is.’

Jean Tinguely and Pontus Hultén became good friends during the fifties in Paris. Today we can look at Tinguely and Niki de Saint Phalle’s permanent sculpture group Paradiset from 1966, situated outside the entrance to Moderna Museet on Skeppsholmen in Stockholm.

194. Jean Tinguely, ‘Eléments blanc et bleu sur fond noir’.

Signed Tinguely and dated –55. Wall object 50 x 50 cm, 9 cm depth, with elements ca 16 cm. We thank Mrs Christina Bischofberger for the additional information regarding this art work.

Estimate: SEK 2 500 000 – 3 000 000 / EUR 239 930 – 287 910

191. James Brown, ‘Grey Interior III’.

191 A. Karin Davie, ‘Interior Ghosts #14’

Executed in 1986. Enamel and stain on canvas 198 x 230 cm.

Signed Davie and dated 2002 on verso. Canvas 122 x 152.5 cm.

Provenance: Leo Castelli, New York.

Provenance: Wetterling Gallery, Stockholm.

Estimate: SEK 70 000 – 80 000 / EUR 6 720 – 7 680

Estimate: SEK 150 000 – 200 000 / EUR 14 400 – 19 200

192. Richard Nonas, Untitled.

193. Igor Mitoraj, ‘Centurion II’.

Signed Nonas and dated ‘82 on verso. Painted wood, 17 x 14 x 3.4 cm.

Signed Mitoraj. Green patinated bronze, 18 x 10 x 13 cm. H.C. 1499/1500.

Provenance: Anders Tornberg Gallery, Sweden.

(d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

194. Jean Tinguely, ‘Eléments blanc et bleu sur fond noir’.

Signed Tinguely and dated –55. Wall object 50 x 50 cm, 9 cm depth, with elements ca 16 cm. We thank Mrs Christina Bischofberger for the additional information regarding this art work.

Provenance: Galerie Burén, Stockholm, Sweden.

Literature: Christina Bischofberger, Jean Tinguely, Catalogue Raisonné. Volume I: Sculptures and Reliefs 1954–1968, compare ‘Bleu Stable’ from 1955, cat no. 45 p. no. 43 .

Estimate: SEK 2 500 000 – 3 000 000 / EUR 239 930 – 287 910

195. Allen Jones, Untitled.

Signed Allen Jones and dated 1988.

Pastel on paper 29.6 x 15 cm.

Provenance: Acquired from the artist.

Galerie Forsblom, Helsinki.

Private collection, Helsinki. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

196. Allen Jones, ‘Acrobat’.

Signed Allen Jones and dated –93. Acrylic on wood, height 69 cm inc. base. Edition of 10.

Provenance: Acquired from the artist.

Galerie Forsblom, Helsinki.

Private collection, Helsinki. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 000 – 14 400

J O N AT H A N M O N K Jonathan Monk's imitations of well–known works of art, his reinterpretations and "cover versions" activate twists that are whimsical, personal or full of playful titles and references to famous artists such as Sol LeWitt, Ed Ruscha, Bruce Nauman and Andy Warhol, among others.

The original idea comes from Warhol, but Jonathan Monk develops and delegates its implementation and production. The new painting is completely identical to its different colors and brushstrokes, which we recognize from Andy Warhol's original canvas from 1972.

The auction’s Andy Warhol’s Chairman Mao handmade in The Peoples Republic of China by Jonathan Monk is a wonderful example of the use of the title of the painting and of the genre Appropriation Art. In fact, Jonathan Monk has had Andy Warhol’s famous and valuable Mao original copied in China, through a highly qualified art student in 2008.

Jonathan Monk is represented at Tate Modern in London, Guggenheim Museum New York, MoMA New York, Moderna Museet Stockholm, Museum of Contemporary Art (MoCA) Los Angeles and Statens Museum for Kunst Copenhagen, among others.

The original Mao portrait is immediately recognizable. But Jonathan Monk has left "his own watermark" by emphasizing that this is an oil painting – not a silkscreen print on canvas. The philosophy of not making the artwork yourself, but giving it to a studio where artworks are copied every day, is reminiscent of Warhol. (Andy Warhol got his most famous works of art produced by his staff at The Factory, close to Union Square in New York.)

Jonathan Monk exhibits regularly at Casey Kaplan Gallery in New York, Lisson Gallery in London, Loom Gallery in Milan and Nicolai Wallner Gallery in Copenhagen.

199. Jonathan Monk, ‘Andy Warhol’s Chairman Mao Hand Made in The Peoples Republic of China’. Executed in 2008. A signed cartificate of authenticity accompanies the lot. Canvas 117 x 90.5 cm. (d) Estimate: SEK 150 000 – 200 000 / EUR 14 400 – 19 200

RICHARD PETTIBONE For over five decades Richard Pettibone has questioned the basic concepts of art in his carefully executed miniatures of masterpieces from art history.

As one of the pioneers in what came to be known as ‘Appropriation Art’ he began, already in the 1960s, to produce small–scale versions of Roy Lichtenstein’s comic panels, Frank Stella’s curved lines, or Andy Warhol’s soup cans, for example. By copying artists more or less contemporary to himself he contributed important components to Postmodernism’s mix of inspiration, borrowing and re–using. In his imitations (sometimes done as exact replicas, sometimes with details added or removed) he explores the notion of ownership and the important role that material and technique plays in an artwork.

Warhol’s work has been a great influence on Pettibone’s entire career. He was highly affected by the legendary exhibition at Ferus Gallery in Los Angeles in 1962 where ‘32 Cans of Campbell’s Soup’ was first shown. The 32 paintings (one for each flavour of Campbell soup) were hung in a long row in the gallery. At the time many people were shocked by the aesthetic, borrowed from the advertising world, yet the piece contributed to Pop Art’s breakthrough on the American West Coast.

200. Richard H. Pettibone, ‘Andy Warhol Campbell´s Soup Can – Chicken Soup’.

Signed RP and dated 1987 on verso and numbered 4–25. Silkscreen on canvas 17.5 x 13 cm.

Estimate: SEK 150 000 – 200 000 / EUR 14 400 – 19 200

197. Jukka Mäkelä, Untitled.

Signed Jukka Mäkelä and dated –88 on verso. Canvas 180 x 280 cm.

Exhibitions: Helsingin Taidehalli, Helsinki, ‘Vad naturen ger’, 26 October – 24 November 1991. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

198. Igor Mitoraj, ‘Argos’.

Signed Mitoraj. Foundry mark Fondeur Venturi Art. Patinated bronze 21 x 26 x 13 cm. Base 15 x 9 x 9 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

199. Jonathan Monk, ‘Andy Warhol’s Chairman Mao Hand Made in The Peoples Republic of China’.

Executed in 2008. A signed cartificate of authenticity accompanies the lot.

Canvas 117 x 90.5 cm.

Provenance: Galleri Nicolai Wallner, Copenhagen. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 400 – 19 200

200. Richard H. Pettibone, ‘Andy Warhol Campbell´s Soup Can – Chicken Soup’.

Signed RP and dated 1987 on verso and numbered 4–25.

Silkscreen on canvas 17.5 x 13 cm.

Provenance: OK Harris Gallery, New York, USA. Acquired in 2018 from a private collection in Sweden.

Estimate: SEK 150 000 – 200 000 / EUR 14 400 – 19 200

201. Erró (Gudmundur Gudmundsson), Untitled (Série Huit Paysages).

Signed Erró and dated 1987 on verso. Canvas 46.5 x 33.5 cm.

Provenance: Bought in Paris in 1987.

Literature: Éditions Hazan, Bergame, ‘Erró 1974–1986, Catalogue Général, L’incitation à la création’, 1986, illustrated p. 141. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 840 – 5 760

202. Erró (Gudmundur Gudmundsson), Untitled.

Signed Erró and dated 1987 on verso. Canvas 46 x 33,2 cm.

Provenance: Bought in Paris 1987. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 840 – 5 760

ANDY WARHOL Robot was part of the series Toy Paintings, also known as Toy Series executed in 1983 and commissioned by the legendary art dealer and collector Bruno Bischofberger in Zurich. He had simply asked Andy Warhol to make an exhibition for children. Warhol was quick to respond, he loved the idea, and composed a comprehensive series of 128 paintings depicting monkeys, parrots, dogs, clowns, robots and so on. The artist had found the inspiration for the paintings in his own collection of wind–up mechanical toys. A few years later Warhol described the work in an interview in New York Times when about a hundred of his paintings were being shown at the Newport Art Museum: ‘Lots of international toys are included’, Mr Warhol said, ‘because a lot of them are the cutest of any I’ve seen.’

When the series was first shown at Galerie Bruno Bischofberger, under the exhibition title Paintings for Children (3rd December 1983 – 10th March 1984), the entire show was made as an installation. The walls were covered in distinctive wallpaper created especially for the exhibition, designed by Warhol and with a screen–printed decoration of identical repeating fish.

Bischofberger decided together with Warhol that the paintings, which were made for children and in small formats, would be hung at the eye–level of

an average 3–5 year old. The adult visitors had to crouch down as they moved around the gallery in order to see the works properly. Bischofberger also decided that any adult visitor not accompanied by a child under the age of six would have to pay entrance. The money later went to a children’s charity project.

The provenance of Robot, the painting in the auction, is Bruno Bischofberger.

Robot was later exhibited at Art Now Gallery in Gothenburg in 1984. Warhol himself had attended the private view and encouraged the visitors to buy a painting for their children. The buyers were told to hang it at a low level in the children’s room and then when the time had come for the child to go off to college or university this could simply be financed by selling the piece off. Business and pleasure! The artwork carry, in its modest formats, the great story of one of 20th century’s most important artists forward into the 21st.

206. Andy Warhol, ‘Robot (From Toy Series)’.

Signed Andy Warhol and dated 83 on verso.

Acrylic and silkscreen on canvas 25.3 x 20.4 cm.

Estimate: SEK 700 000 – 800 000 / EUR 67 180 – 76 780

JULIAN OPIE The British artist Julian Opie established himself in the 1980s as part of the movement ‘New British Sculpture’. This was a group of artists who, at the time, experimented with the medium of sculpture as a form of expression. Their themes included pop, humour, assemblage and the criticism of a consumer society. Other well–known figures who emerged from this group included Antony Gormley and Anish Kapoor.

Since the 1980s Opie has refined his artistic language. Inspired by Pop art, minimalism, classical portraiture and Japanese woodcuts Opie has primarily worked with portraits. In his minimalistic style he brilliantly succeeds in capturing the individual’s character traits. His popular breakthrough using this technique came in 2000 when he created the cover for the album Blur: The Best Of by Britpop band Blur.

In several projects shown at, amongst others, Lisson Gallery in London and Wetterling Gallery in Stockholm, the artist has worked consistently with

a group of about thirty friends that he has then portrayed in sculptures, paintings, films and wallpapers. Six of his portraits are in the National Portrait Gallery in London; four depict the members of Blur and one, entitled James, Inventor, executed as a commission by the National Portrait Gallery in 2010, is a portrait of the inventor and engineer Sir James Dyson.

Opie’s work can also be found in public art collections such as Tate Modern and the Victoria & Albert Museum in London, Museum of Modern Art (MoMa) in New York as well as the Institute of Contemporary Art in Boston.

207. Julian Opie, ‘Lyndsey, student 1’.

Signed Julian Opie on verso. Executed in 2004.

C–type print on wooden mount 35 x 27.5 cm. (d) Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

203. KAWS, ‘Companion (Five Years Later) (Blue Glow In The Dark)’.

Stamped ‘MEDICOM TOY 2004 CHINA © KAWS.04’ on the underside. Executed in 2004.

Vinyl, height 37,5 cm (14 3/4 in.) each. With original Medicom packaging. Edition of 500.

Fabricated by Medicom Toy, Japan.

Provenance: Private collection, Sweden.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

204. KAWS, ‘Companion (Five Years Later) (Blue Glow In The Dark)’.

Stamped ‘MEDICOM TOY 2004 CHINA © KAWS.04’ on the underside. Executed in 2004.

Vinyl, height 37,5 cm (14 3/4 in.) each. With original Medicom packaging. Edition of 500.

Fabricated by Medicom Toy, Japan.

Provenance: Private collection, Sweden.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

205. KAWS, ‘Kubrick Mad Hectic’.

Stamped ‘© KAWS.03’ on the back of the right leg, further stamped ‘KUBRICK TM MEDICOM TOY’ on the underside. Executed in 2003. Painted vinyl, height 25.4 cm (10 in.). Edition of 300. Fabricated by Medicom Toy, Japan.

Provenance: Private collection, Sweden.

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

206. Andy Warhol, ‘Robot (From Toy Series)’.

Signed Andy Warhol and dated 83 on verso.

Acrylic and silkscreen on canvas 25.3 x 20.4 cm.

Provenance: Galerie Bruno Bischofberger, Zürich.

Galleri Fabian Carlsson, Gothenburg.

Art Now Gallery, Gothenburg. Acquired by the current owner at the opening in 1984.

Exhibitions: Art Now Gallery, Gothenburg, ‘Children’s Paintings’, 1984.

Estimate: SEK 700 000 – 800 000 / EUR 67 180 – 76 780

207. Julian Opie, ‘Lyndsey, student 1’.

Signed Julian Opie on verso. Executed in 2004.

C–type print on wooden mount 35 x 27.5 cm.

Provenance: Alan Cristea Gallery, London. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

208. Roman Scheidl, ‘Papageno’.

Signed Roman Scheidl and dated Vienna 1985 on verso.

Canvas 202 x 160 cm.

Provenance: Galleri Futura, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 840 – 5 760

CHRISTO & JEANNE–CLAUDE ‘It can’t be owned or rented or bought. The artist doesn’t get any richer, but you do.’ says Jan van der Marck, a long–time collaborator of Christo to the TIME’s reporter, September 1976.

Running Fence, Sonoma and Marin Counties, California 1972–76, is an important and early art project that the artists Christo (1935–2020) and Jeanne–Claude (1935–2009) created together between 1972 and 1976.

Running Fence only existed for two weeks in September 1976, but behind the project lay 42 months of hard work. The monumental piece was constructed from approximately 240,000 square yards of heavy woven nylon fabric, 90 miles of steel cables, 2050 steel poles, 350,000 hooks and 14,000 earth anchors assembled by about 300 students. All parts of Running Fence were designed for removal so that no visible or physical trace would remain in the location.

As in all their artistic projects the artist couple accepted no sponsorship and financed everything themselves through the sale of preparatory

sketches and studies, drawings and collages, scale models and lithographs.

‘Since 1972, when Christo conceived the project, it has cost him $2,250,000 – raised by selling off his drawings and project studies to European collectors. A sixth of that sum went on fees to a battery of lawyers who, through 17 public hearings and three sessions of the California Supreme Court, won permission to construct the fence and defended it against suits brought by worried environmentalists, who derisively called it ’a roll of toilet paper’. There were bomb threats, and rigging trucks were vandalized.’

TIME, September 20, 1976.

209. Christo & Jeanne–Claude, ‘Running Fence (Project for Sonoma County and Marin County, State of California) – Estero Road’.

Signed Christo and dated 1975. Fabric, pencil, charcoal, crayon and technical data collage on board mounted in plexi. Height 56.6, width 72 and depth 4.5 cm.

Estimate: SEK 400 000 – 500 000 / EUR 38 390 – 47 990

EDUARDO TERRAZAS Eduardo Terrazas is one of the leading artists of the Mexican contemporary art scene. Through the years he has worked within design, art and architecture, but also in fields such as museology and urban planning.

with the graphic patterns gives the work its distinctive character. It is a complicated technique favoured by Terrazas not only for its aesthetic qualities but also for the meditative aspect it lends the creative process.

Terrazas began experimenting with geometrical patterns in the 1970s, inspired by abstract art, De Stijl and architecture. These were later merged with the visual language and techniques of Mexican folk art. Together these different elements create a unique and attractive blend of contemporary art, the European avant–garde and older South American craft traditions.

Eduardo Terrazas is represented by Timothy Taylor Gallery in New York and Nils Stærk in Copenhagen – where this particular painting was shown at a solo exhibition of Terrazas’s work in 2015. 1.1.149 is part of a small group of paintings in the series Possibilities of a Structure. The subgroup to this series is called Cosmos series where, like a kaleidoscope, the artist breaks up strict lines to displace the symmetry of the motif.

The piece 1.1.149 is highly typical of Terrazas' art. In it he has worked with geometrical shapes and patterns, bright colours, and techniques developed for centuries by the Huichol people, part of the Mexican indigenous population. The technique, where coloured wool yarn is arranged on a wax–covered board, creates an exciting relief effect, which in combination

213. Eduardo Terrazas, ‘1.1.149’ from the series ‘Possibilities of a Structure’.

Signed E Terrazas on verso. Executed 1974–2014. Subseries: ‘Cosmos’.

Wool yarn and Campeche wax on wooden board 120 x 120 cm.

Estimate: SEK 400 000 – 500 000 / EUR 38 390 – 47 990

209. Christo & Jeanne–Claude, ‘Running Fence (Project for Sonoma County and Marin County, State of California) – Estero Road’.

Signed Christo and dated 1975. Fabric, pencil, charcoal, crayon and technical data collage on board mounted in plexi. Height 56.6, width 72 and depth 4.5 cm.

Provenance: Galerie Aronowitsch, Stockholm, Sweden.

Estimate: SEK 400 000 – 500 000 / EUR 38 390 – 47 990

210. Phil Sims, ‘Red painting’.

211. Rainer Fetting, ‘Yellow Cab in Alleyway’.

Signed Sims and dated –81 on verso. Canvas 168 x 147 cm.

Signed Fetting on the back of the frame. Executed in 1991.

Oil on canvas 102 x 67 cm. Including frame 114 x 78 cm.

Provenance: Galerie Nordenhake, Malmö.

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

Provenance: Galleri Christian Dam, Copenhagen. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 000 – 14 400

212. KAWS, ‘Companion (Five Years Later)(Brown, Grey, Black)’.

Stamped ‘MEDICOM TOY 2004 CHINA © KAWS.04’ on the underside. Executed in 2004. Painted vinyl, height 37.5 cm (14 3/4 in.) each. With original Medicom packaging. Edition of 500. Fabricated by Medicom Toy, Japan.

Provenance: Private collection, Sweden.

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

213. Eduardo Terrazas, ‘1.1.149’ from the series ‘Possibilities of a Structure’.

Signed E Terrazas on verso. Executed 1974–2014. Subseries: Cosmos.

Wool yarn and Campeche wax on wooden board 120 x 120 cm.

Provenance: Nils Staerk, Copenhagen.

Exhibitions: Nils Staerk, Copenhagen, ‘Ways of Perception’, 20 March – 9 May 2015.

Estimate: SEK 400 000 – 500 000 / EUR 38 390 – 47 990

214. Withdrawn 215. Withdrawn

RAINER FETTING Rainer Fetting lived and worked in New York between 1983 and 1994.

During his time there he was inspired by the urban life of the city that never sleeps. He noticed one of New York’s most famous yet most recognisable symbols – the yellow taxicabs, and how they moved like a steady stream along the city streets. ‘Yellow Cab in Alleyway’ forms part of Fetting’s series ‘Taxi Pictures’ which he began working on in 1991. The images are expressive, the paintings characterised by a drive and an energy that brilliantly visualises the fast movement of the car. Similar paintings can be found in, amongst others, the collection of Städel Museum in Frankfurt am Main.

Rainer Fetting’s artistic practice was shaped by West Berlin in the 1970s.

The city was the European focus of a new generation of artists and musicians ready to come to terms with the post–war period. The uninhibited nightlife, the young political and radical currents and not least the open gay scene came to define the city’s art world. Fetting arrived as a young artist and shortly thereafter opened the important gallery Galerie am Moritzplatz, together with people such as Salomé and Helmut Middendorf. He became one of the leading members of the artist groups ‘Heftige Malerei’ and ‘Junge Wilde’ (also called ‘Neue Wilde’), whose expressive painting was characterised by strong colours and wide, quick brushstrokes.

In connection with the solo show ‘Taxis, Monsters and the Good Old Sea’ at the Albertz Benda Gallery in New York in 2017, Fetting recalled his time in New York: ‘New York was very run down those days... different from anything civilized like it is now, and I tried to express a certain melancholy and loneliness, which maybe was also part of how I felt then.’

211. Rainer Fetting, ‘Yellow Cab in Alleyway’.

Signed Fetting on the back of the frame. Executed in 1991.

Oil on canvas 102 x 67 cm. Including frame 114 x 78 cm. (d) Estimate: SEK 125 000 – 150 000 / EUR 12 000 – 14 400

246. Albert Watson, ‘Alfred Hitchcock, Los Angeles, 1973’.

Signed Albert Watson on verso. Gelatin silver print, image 35.5 x 28 cm.

Sheet 60.5 x 50.5 cm. (d) Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

216. William Klein, ‘Simone & Marines, Pont Alexandre III, Paris, 1960’.

Signed William Klein on verso. Printed later. Open edition. Gelatin silver print, image 32.5 x 25 cm. Sheet 40.5 x 30 cm.

Provenance: Hamiltons Gallery, London.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

217. Terry O’Neill, ‘Elton John, Feathers’, 1970’s.

Signed Terry O’Neill and numbered 6/50. Gelatin silver print, image 46 x 45 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

218. William Wegman, ‘Slide Rule’, 2008.

Signed William Wegman and numbered 3/3 on label verso. C– print mounted to acrylic glass 101 x 75 cm.

Estimate: SEK 50 000 – 70 000 / EUR 4 800 – 6 720

219. Nick Brandt, ‘Lioness with Cubs Under Tree, Serengeti’, 2004.

Signed Nick Brandt and numbered AP 2/2. Total edition of 8 + 2 AP. Pigment print, image 97 x 103 cm. Including frame 123 x 138 cm.

Literature: Nick Brandt, ‘On this Earth, a Shadow Falls’, 2010, illustrated on p. 48. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

220. Björn Keller, From the series ‘Fåglar’, 2012.

Signed B Keller and numbered 2/5. Pigment print, image 138 x 91.5 cm.

Exhibitions: Another example exhibited at: Double Elvis Gallery, Stockholm, ‘Björn Keller. Fåglar’, 8 September – 23 September 2012. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

221. Blaise Reutersward, ‘ETRETAT 1’, 2002.

Signed Blaise R and numbered 1/5 on verso. Analogue C–print diasec mounted and framed 142 x 170 cm including frame.

Provenance: Galleri Mårtenson & Persson, Stockholm.

Exhibitions: Galleri Mårtenson & Persson, Stockholm, ‘Time Shifting’, 2002. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

222. Phoebe Rudomino, ‘A Girl in a Room’, 2006.

Signed certificate accompanies the work. Printed in 2016.

Edition 19/20. C–print mounted to glass 168 x 111 cm.

Exhibitions: Another example exhibited at: ‘Out of focus: Photography’ Saatchi Gallery, London, 2012.

‘Water on the Lens’ County Hall, London Southbank, 2009. (d)

Estimate: SEK 150 000 – 160 000 / EUR 14 400 – 15 360

223. Luis Gispert, ‘DC–3’, 2010.

Signed L Gispert and dated 2010 and numbered 6/6 on verso.

C–print, 139.4 x 218.2 cm.

Provenance: Acquired directly from the photographer.

Bukowski Auktioner, Contemporary Art & Design 588, November 2015, cat no 216.

Estimate: SEK 180 000 – 200 000 / EUR 17 280 – 19 200

224. Terry O’Neill, ‘Frank Sinatra, Miami, 1968’.

Signed Terry O’Neill and numbered 9/50. Printed later.

Gelatin silver print, image 64 x 96 cm. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 800 – 6 720

225. Lennart Olson, ‘Tjörnbron IV’, 1966.

226. Gunnar Smoliansky, ‘Södermalm, 1958’.

Signed Lennart Olson on verso. Gelatin silver print, image 46 x 32 cm. Sheet 50.5 x 40.5 cm.

Signed Gunnar Smoliansky on verso. Gelatin silver print, image 37 x 24.5 cm.

(d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

Provenance: Acquired directly from the photographer by the current owner.

Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky – One Picture at a Time.

Photographs 1952–2008’, 2008, illustrated p. 39. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

227. Gunnar Smoliansky, ‘Hemma’/’Saltsjö–Boo’, 1975.

Signed Gunnar Smoliansky on verso. Gelatin silver print, image 23 x 20 cm.

Sheet 30 x 24 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer.

Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky – One Picture at a Time.

Photographs 1952–2008’, 2008, illustrated p. 221. (d)

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

228. Maria Miesenberger, ‘Untitled (Future)’, 1993–2000.

From the series ‘Sverige/Schweden’, 1993–2000. Signed Maria Miesenberger and dated 2009 and numbered 1/3 on verso. Gelatin silver print, image 65 x 100 cm.

Including the artist’s frame 79 x 115 cm.

Provenance: Lars Bohman Gallery, Stockholm, 2011.

Literature: Maria Miesenberger, ‘Sverige/Schweden’, 2011, illustrated on spread pl. 087. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

229. Tova Mozard, ‘Pure time, white as bone’, 2010.

Signed Tova Mozard and numbered 1/5 on label verso.

C–print, 71 x 87 including frame.

Provenance: Cecilia Hillström Gallery, Stockholm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 360 – 3 840

230. Maria Friberg, ‘Still lives #9’, 2006.

Signed Maria Friberg and numbered 1/6 + 2 AP on verso.

C–print, laminate, wood 105 x 65 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Literature: Maria Friberg e.a, ‘Maria Friberg’, 2008, illustrated on fullpage. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

231. Sofia Änghede, ‘#9’, 2002.

Signed Sofia Änghede and numbered AP 2/2 on verso.

C–print mounted to aluminum 90 x 73 cm.

Provenance: Galleri Mårtenson & Persson, Stockholm.

Literature: Håkan Nilsson, ‘Sofia Änghede #1 – #28’, 2008, illustrated. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

232. Charlotte Gyllenhammar, ‘Olydnad’, 1997.

Signed Charlotte Gyllenhammar and numbered 4/5 on verso. Printed in 2002.

C–print, laminate, aluminum 80 x 114 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Literature: Magnus Jensner e.a, ‘Charlotte Gyllenhammar’, 2004, illustrated p. 60. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

233. Bruno Ehrs, ‘Carl XVI Gustaf, Skeppsholmen, maj 2002’.

Signed Bruno Ehrs and numbered 37/50. Printed later. Pigment print, image 81 x 64 cm. Sheet 111 x 91 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

234. Hans Gedda, ‘Charlie Rivel’, 1980.

Signed Hans Gedda. Vintage. Gelatin silver print, image 32 x 31.5 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer.

Literature: Bodil Malmsten and Hans Gedda, ‘Cirkus Circus Cirque’, 1995, illustrated on fullpage. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

235. Hans Gedda, ‘Den ensamme clownen, Cirkus Schreiber’, 1978.

Signed Hans Gedda. Gelatin silver print, image 34.5 x 34.2 cm. Sheet 48 x 40.5 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer.

Literature: Magnus Olausson e.a, ‘Hans Gedda; Det tredje ögat’, 2013, illustrated fullpage p. 58.

Bodil Malmsten and Hans Gedda, ‘Cirkus Circus Cirque’, 1995, illustrated fullpage. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

236. Anton Corbijn, ‘U2, Death Valley’, 1986.

Signed Anton Corbijn on label verso. Edition 10/10. Gelatin silver print, image 62.5 x 150 cm.

Provenance: Torch Gallery, Amsterdam.

Galleri Magnus Åklundh, Malmö. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 800 – 6 720

237. Dennis Morris, ‘Bob Marley, Jamming’, 1970’s.

Signed Dennis Morris and numbered 2/6. Gelatin silver print, image 87 x 57 cm. Sheet 102 x 76 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

238. Torbjörn Calvero, ‘Mick Jagger, You Gotta Move’, 1976.

Stamped by Calvero Estate on verso. Printed later.

Edition 2/3 + 1 AP. Gelatin silver print, image 90 x 290 cm.

Literature: Torbjörn Calvero and Christer Olsson, ‘Från Abba till Zeppelin.

Calveros 70–tal’, compare images on p. 88–93. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 840 – 5 760

239. Tuija Lindström, ‘Steam Rally II, Fairford, 1983’.

Signed Tuija Lindström on the back of the frame. Gelatin silver print, image 14.2 x 14.2 cm. Sheet 30.2 x 23.7 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer.

Literature: Hasselblad Center, ‘A Dream If Ever There Was One, Tuija Lindström’, exhibition catalogue, 2012, illustrated.

Tuija Lindström and Johan Ehrenberg, ‘Tuija Lindström’, 1989, illustrated on fullpage. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

240. Tuija Lindström, ‘Mirja’, 1982.

Signed Tuija Lindström and numbered 1 AP on the back of the frame.

Gelatin silver print, image 28 x 22 cm. Sheet 40 x 30 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer.

Literature: Hasselblad Center, ‘A Dream If Ever There Was One, Tuija Lindström’, exhibition catalogue, 2012, illustrated.

Lollo Fogelström and Niclas Östlind, ‘Tuija Lindström – Look At Us’, Liljevalchs Konsthall cat no 456, 2004, illustrated pl. 5.

Tuija Lindström and Johan Ehrenberg, ‘Tuija Lindström’, 1989, illustrated on fullpage. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

241. Tuija Lindström, ‘Maria in an Arch’ from the series ‘The Girls at Bull’s Pond’, 1991.

Signed Tuija Lindström and numbered AP 1 on verso. Gelatin silver print, image 62.5 x 61 cm. Sheet 70.5 x 71 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer.

Literature: Niclas Östlind, ‘Mellan verkligheter. Fotografi i Sverige 1970–2000’, 2014, illustrated on fullpage p. 265.

Lollo Fogelström and Niclas Östlind, ‘Tuija Lindström – Look At Us’, Liljevalchs Konsthall cat no 456, 2004, illustrated pl. 73.

Tuija Lindström, ‘The Girls at Bull’s Pond’, 1989, illustrated on a separate plate in the portfolio. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

242. Hans Gedda, ‘Sign of Freedom’, 1990.

Signed Hans Gedda. Numbered 7/10 on verso.

Gelatin silver print, image 90 x 90 cm. Including frame 114 x 116 cm. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 600 – 14 400

243. Denise Grünstein, ‘Katarina Palace’, Pushkin, Russia, 1998.

From the series ‘Zone V’. Signed Denise Grünstein on verso. This is a unique AP mounted in a lead frame. Total edition of 3 + AP. Gelatin silver print 144 x 120 cm.

Provenance: Galleri Mårtenson & Persson, Båstad.

Exhibitions: Arkipelag, Museum of Science and Technology, Stockholm, ‘Zone V’, 1998.

Nationalmuseum c/o Konstakademien, Stockholm, ‘Denise Grünstein – En face’, 19 February – 3 May 2015. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

244. Lovisa Ringborg, ‘Untitled’, 2005.

Signed Lovisa Ringborg and numbered 1/5 on verso.

C– print mounted to aluminum 83 x 73 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

245. David Byrne, ‘Double sofas’, 1984.

Signed David Byrne and dated –84 and numbered 3/10 on verso.

Cibachrome, image 40 x 60 cm.

Literature: DAMN –a magazine on contemporary culture, No. 16 2008, pl. 11.

David Byrne, ‘Strange ritual’, 1995, illustrated.

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

246. Albert Watson, ‘Alfred Hitchcock, Los Angeles, 1973’.

Signed Albert Watson on verso. Gelatin silver print, image 35.5 x 28 cm.

Sheet 60.5 x 50.5 cm.

Provenance: Camera Work Portfolio.

Private Collection, Europe.

Sotheby’s London, ‘Made in Britain’, 28 September 2016, Lot 195.

Private Collection, Sweden.

Literature: James Crump, ‘Albert Watson’, 2007, no. 23, illustrated on fullpage. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

247. Luis Gispert, ‘Blue Car’, 2010.

Signed L Gispert and numbered 4/6 on verso. C–print 125 x 185 cm including frame.

Provenance: Mallorca Landings, Palma de Mallorca.

Estimate: SEK 100 000 – 150 000 / EUR 9 600 – 14 400

248. Andreas Kock, ‘Caroline Winberg’, 2014.

Signed Andreas Kock and numbered 1/5 on verso. Digital print, image 60 x 50 cm.

Provenance: Acquired directly from the photographer by the current owner. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

249. Nick Brandt, ‘Giraffes Battling in Forest, Masai Mara’, 2008.

Signed Nick Brandt and numbered 6/8. Pigment print, image 133 x 105 cm.

Including frame 156 x 129 cm.

Literature: Nick Brandt, ‘On this Earth, a Shadow Falls’, 2010, illustrated on p. 91. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 600 – 11 520

250. Terry O’Neill, ‘Paul McCartney At Ringo Starr’s Wedding’, 1981.

Signed Terry O’Neill and numbered A/P. Total edition of 50 + 10 AP. Gelatin silver print, image 53 x 35 cm.

Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on fullpage p. 37. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

251. Terry O’Neill, ‘Faye Dunaway, Hollywood, 1977’.

Signed Terry O’Neill and numbered 5/50. C–print, image 168 x 168 cm.

Including frame 190 x 190 cm.

Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on p. 104 and fullpage p. 105. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 400 – 19 200

256. Blaise Reutersward, ‘DL1214’, 2015.

From the series ‘Deutsche Landschaft’. Signed BLAISE REUTERSWARD and numbered 2/5 on label verso. Total edition of 5 + 2 AP. C–print diasec mounted and framed 235 x 185 cm including frame. (d) Estimate: SEK 100 000 – 150 000 / EUR 9 600 – 14 400

272. Cooper & Gorfer, ‘Undressing Vivienne’, 2010.

Signed on label verso. Edition 2/6 + 2 AP. Executed in 2010.

Archival pigment print mounted on dibond and framed 110 x 84 cm.

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

252. Hans Hammarskiöld, ‘Battersea Bridge, London’, 1955.

Signed Hans Hammarskiöld and numbered 55/100 on verso. Gelatin silver print, image 48 x 40.5 cm. Sheet 50.3 x 40.5 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer.

Literature: Kurt Mälarstedt, ‘Foto Hammarskiöld – Tiden och ljuset’, 2008, illustrated on fullpage p. 56. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

253. Hans Hammarskiöld, ‘Spanska ridskolan’, 1952.

Signed Hans Hammarskiöld and numbered 29/100 on verso. Gelatin silver print, image 27.5 x 37. Sheet 29.5 x 39 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer.

Literature: Kurt Mälarstedt, ‘Foto Hammarskiöld – Tiden och ljuset’, 2008, illustrated on fullpage p. 48–49. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 880 – 3 360

254. Åke E:son Lindman, ‘Naturalis (Utan titel)’, 1988.

Signed Åke E:son Lindman and stamped on verso. Printed in 1989. Vintage.

Gelatin silver print, 33.3 x 26.3 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

255. Åke E:son Lindman, ‘Naturalis (Utan titel)’, 1988.

Signed Åke E:son Lindman and stamped on verso. Printed in 1989. Vintage.

Gelatin silver print, 33.5 x 26 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

256. Blaise Reutersward, ‘DL1214’, 2015.

From the series ‘Deutsche Landschaft’. Signed BLAISE REUTERSWARD and numbered 2/5 on label verso. Total edition of 5 + 2 AP. C–print diasec mounted and framed 235 x 185 cm including frame.

Provenance: Acquired directly from the photographer by the current owner.

Literature: Nadine Barth (ed.), ‘Blaise Reuterswärd’, 2018, illustrated on fullpage. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 600 – 14 400

257. Nathalia Edenmont, ‘Mask’, 2004.

Signed N Edenmont and numbered 1/6 on verso.

C–print mounted to glass 120 x 120 cm.

Provenance: Wetterling Gallery, Stockholm.

Literature: Nathalia Edenmont, ‘Eternal’, 2011, illustrated on fullpage p. 123. (d)

Estimate: SEK 40 000 – 45 000 / EUR 3 840 – 4 320

258. Tova Mozard, ‘How’s the World Treating You?’, 2010.

Signed Tova Mozard on label verso. Edition 2/5 + 2 AP. Pigment print mounted to aluminum and framed, 71 x 87.5 including frame.

Provenance: Milliken Gallery, Stockholm.

Exhibitions: Same motif, another example, exhibited at Milliken Gallery, Stockholm, ‘How’s the world treating you?’, 8 October – 13 November 2010. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

259. Gunnar Smoliansky, ‘Slussen’, 1952.

Signed Gunnar Smoliansky. Edition 1/5. Printed later. Gelatin silver print, image 90 x 90 cm. Including frame 105 x 103 cm.

Literature: Gunnar Smoliansky, Hans Henrik Brummer and Carl Johan Malmberg, ‘Gunnar Smolianskys fotografier från Slussen i Stockholm 1952’, 2002, illustrated. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

260. Gunnar Smoliansky, ‘Slussen’, 1952.

Signed Gunnar Smoliansky. Edition of 5. Printed later.

Gelatin silver print, image 90 x 90 cm. Including frame 105 x 103 cm.

Literature: Gunnar Smoliansky, Hans Henrik Brummer and Carl Johan Malmberg, ‘Gunnar Smolianskys fotografier från Slussen i Stockholm 1952’, 2002, illustrated. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

261. Antanas Sutkus, ‘J.P Sartre and Simone de Beauvoir in Nida’, 1965.

Signed A. Sutkus on verso. Printed later. Gelatin silver print 30.6 x 40.3 cm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 960 – 1 160

262. Mathias Johansson, ‘Louise Bourgeois, 1998, N.Y.C.’.

Signed Mathias Johansson and numbered 16/20 on verso.

Gelatin silver print, image 31 x 47 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

263. Jacob Felländer, ‘The 57th Street Plan’, 2013.

Signed Jacob Felländer and numbered 2/5 on verso.

Total edition of 5 + 2 AP. C–print mounted to glass 80 x 180 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

264. Helmut Newton, ‘SUMO’, 1999.

Signed Helmut Newton and numbered 6958/10000. Book published by Taschen, Monte Carlo, 1999, 71 x 51 cm. Comes in the original box from Taschen. With a metal table designed by Phillipe Starck.

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

265. Julian Opie, ‘Imagine you are driving (fast)/Olivier/helmet’, 2002.

Signed Julian Opie and numbered 13/50 on verso. Lambda print, image 56 x 122 cm including frame.

Provenance: Alan Cristea Gallery, London.

Wetterling Gallery, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

266. Jonathan Hernandez, ‘Conozca México II’, 1996–2000.

Diptych. Signed Jonathan Hernandez and numbered 2/3 on verso. C–print, image 32.5 x 49.5 cm per part. Framed separately, 57 x 73 cm including frame.

Provenance: Kurimanzutto, Mexico. Acquired at Art Basel 1999 by the current owner.

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

267. Jonathan Hernandez, ‘Conozca México III’, 1996–2000.

Diptych. Signed Jonathan Hernandez and numbered 1/3 on verso. C–print, image 32.5 x 49.5 cm per part. Framed separately, 57 x 73 cm including frame.

Provenance: Kurimanzutto, Mexico. Acquired at Art Basel 1999 by the current owner.

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

268. Maria Friberg, ‘Still lives #10’, 2006.

Signerad Maria Friberg and numbered 1/6 on verso.

A total edition of 6 + 2 AP. C–print, laminate, wood 94 x 63 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Literature: Maria Friberg e.a, ‘Maria Friberg’, 2008, illustrated on fullpage. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

269. Helene Schmitz, ‘The Chair’, 1996.

Signed Helene Schmitz and dated 2019 and numbered 2/3 on label verso.

Total edition of 3 + 1 AP. C–print mounted to aluminum and framed, image 173 x 120 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

270. Hans Hammarskiöld, ‘Syon Park, London’, 1955.

Signed Hans Hammarskiöld on verso. Printed in the 1970’s.

Gelatin silver print, image 36.5 x 27.7 cm. Sheet 40.5 x 29.5 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer.

Literature: Kurt Mälarstedt, ‘Foto Hammarskiöld – Tiden och ljuset’, 2008, illustrated on p. 85. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

271. Hans Hammarskiöld, ‘Victoria Tower, London’, 1955.

Signed Hans Hammarskiöld and numbered 16/100 on verso.

Gelatin silver print, image 48.5 x 37.5 cm. Sheet 50 x 39.5 cm.

Literature: Kurt Mälarstedt, ‘Foto Hammarskiöld – Tiden och ljuset’, 2008, illustrated on fullpage p. 62. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

272. Cooper & Gorfer, ‘Undressing Vivienne’, 2010.

Signed on label verso. Edition 2/6 + 2 AP. Executed in 2010.

Archival pigment print mounted on dibond and framed 110 x 84 cm.

Provenance: Christian Larsen, Stockholm.

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

273. Åke E:son Lindman, ‘Canovia Sculptures’, 1993.

Signed Åke E:son Lindman and dated 2004 on verso. Unique.

Gelatin silver print, image 49.5 x 39.7 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 730 – 1 920

274. Tomás Saraceno, ‘Endless Big’, 2006.

Signed certificate accompanies the work. Edition of 5.

C–print, image 120 x 180 cm. Including frame 155 x 210 cm.

Provenance: Andersens Contemporary, Copenhagen.

Estimate: SEK 100 000 – 125 000 / EUR 9 600 – 12 000

275. Philip–Lorca DiCorcia, ‘Mexico City’, 1998.

Signed Philip–Lorca diCorcia on verso. Edition of 15.

C–print, image 65 x 95 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

276. Leif–Erik Nygårds, ‘Marilyn Monroe photographed in Los Angeles at Bel Air Hotel, June 27th 1962’.

Signed Leif–Erik Nygårds and numbered 3/30 on verso.

Gelatin silver print, image 39 x 49 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

277. Terry O’Neill, ‘Elton John, Dodgers Stadium, Howling’, 1975.

Signed Terry O’Neill and numbered 27/50. Gelatin silver print, image 37 x 55 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

278. Nick Brandt, ‘Lion Jumping from Tree, Masai Mara’, 2008.

Signed Nick Brandt and numbered 5/5. Pigment print, image 102 x 102.5 cm.

Including frame 128 x 126 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

279. Yoshihiko Ueda, ‘Miles Davis’, 1986.

Signed Yoshihiko Ueda. Gelatin silver print, image 24.5 x 20 cm.

Sheet 35 x 27.7 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

280. Richard Gere, ‘Gone Thus, Zanskar’, 1988.

Signed Richard Gere and numbered 14/25 on verso.

Total edition of 25 + 3 AP. Platinum print, image 27.5 x 40 cm.

Sheet 38 x 50.5 cm.

Provenance: Hamiltons Gallery, London.

Literature: Richard Gere, ‘Pilgrim’, 1997, illustrated on pl. 42.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

281. Åke E:son Lindman, ‘#528’, 2014.

Signed Åke E:son Lindman and dated 2014 on verso. Unique.

Chemigram, image 50 x 40 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

282. Edouard Boubat, ‘Leila 1947’.

Signed E. Boubat. Printed in the 1970’s.

Gelatin silver print, image 36.5 x 27.5 cm.

Provenance: Camera Obscura, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

283. Inta Ruka, ‘Janis Stebers’, 1986.

Signed Inta Ruka on verso. Gelatin silver print, 34.7 x 33 cm.

Provenance: Acquired directly from the photographer by the current owner. (d)

Estimate: SEK 6 000 – 8 000 / EUR 580 – 770

284. Pentti Sammallahti, Untitled, 1974.

Signed Pentti Sammallahti and dated –74 on verso.

Gelatin silver print, image 14.5 x 18.5 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer. (d)

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

285. Tom Sandberg, Untitled, 2008.

Signed Tom Sandberg and dated 2008 on verso. Vintage.

Gelatin silver print, image 32.5 x 22 cm. Sheet 40.5 x 30.3 cm.

Provenance: Galleri Balder, Oslo.

Private Collection, Stockholm.

Exhibitions: Galleri Balder, Oslo, ‘Scandinavian grey’, 9 May – 2 June 2013. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

286. Nathalia Edenmont, ‘Elegance’, 2018–2020.

Signed N Edenmont on verso. Edition 4/6 + 2 AP. Archival Inkjet print mounted to aluminum and framed, image 150 x 155 cm.

Including frame 160 x 165 cm.

Provenance: Wetterling Gallery, Stockholm. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 000 – 14 400

287. Jacob Felländer, ’Building to Implode’, 2013.

From the series ‘Pentimento’. Signed Jacob Felländer on verso. Unique.

Charcoal, pastel and paint on Archival Pigment Print, sheet 120 x 120 cm.

Provenance: Camera Work, Berlin.

Hamiltons Gallery, London, ‘Pentimento’, 21 September – 1 November 2013. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

288. Andreas Kock, ‘Stalker (Rockstar)’, 2013.

Signed Andreas Kock and numbered 3/5 on verso.

C–print, image 118 x 158 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

289. Sante D’Orazio, ‘Pamela Andersson, Hollywood 2000, Bamboo Nude #1’.

Signed Sante D’Orazio on label verso. Edition 2/5 + 1 AP. Digital C–print, image 151 x 122 cm.

Provenance: Stellan Holm Gallery, New York.

Literature: Sante D’Orazio, ‘Pam: An American Icon Limited Edition’, 2007, illustrated.

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

290. Wang Qingsong, ‘Follow Me’, 2003.

Signed and dated 2005.4.18 on verso. C–print, image 50 x 128 cm.

Estimate: SEK 80 000 – 100 000 / EUR 7 680 – 9 600

291. Ann Böttcher, ‘Gran Framför Sten, Gran Bakom Sten’, 2002–2006.

Numbered 3/6 + 1 AP on verso. Diptyche, framed together.

C–print, 36.5 x 46.5 cm including frame.

Provenance: Galerie Nordenhake, Stockholm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

292. Jorma Puranen, ‘After Van Uden’, 2011.

Edition of 6. C–print mounted to acrylic glass and framed, image 48 x 60 cm.

Provenance: Purdy Hicks Gallery, London.

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

293. Helena Blomqvist, ‘Orchard Ground’, 2011.

Signed Helena Blomqvist and dated 2011 and numbered 1/6 on label verso. Total edition of 6 + 2 AP. Pigment print, 110 x 87 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Literature: Helena Blomqvist and Angelika Knäpper Gallery, ‘Helena Blomqvist’, 2012, illustrated on full page. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

294. Ann–Sofi Sidén, ‘Eva x 2’, 2001.

Diptych. Edition 1/2 AP. C–print silicone mounted to glass 239 x 123.8 cm per part.

Exhibitions: Another example exhibited at: Malmö Konsthall, ‘Malmö konstmuseum @ Malmö Konsthall’, 7 December – 16 March 2014.

Literature: Cecilia Widenheim (ed.), ‘Ann–Sofi Sidén: In between the best of worlds’, 2004, Moderna Museet exhibition catalogue No 327, illustrated on fullpage p. 43. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

295. Dana Sederowsky, ‘Black Knot #8’, 2013.

Signed Dana Sederowsky and numbered 1/6 + 2 AP on the back of the frame.

Archival pigment print 140 x 100 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

296. Esko Männikkö, ‘Kuivaniemi’, 1995.

Signed Esko Männikkö and dated 2000 and numbered 8/20 on verso.

C–print mounted to kapa board and framed, 93 x 103 cm including the artist’s frame.

Provenance: Berkley Trust, Isle of Man. Christies, Nordic Art and Design, 15 May 2008, Lot 9.

Literature: Birgitte Kölle (ed.), ‘Esko Männikkö’, 1996, illustrated on p. 37. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

297. Esko Männikkö, ‘Untitled, Batesville’, 1996.

Signed Esko Männikkö numbered 1/20 on verso. C–print mounted to kapa board and framed, 70 x 85 cm including the artist’s frame.

Provenance: Paul Morris Gallery, New York.

Matthew Marks Gallery, New York.

Morris Healy Gallery, New York.

Literature: Maretta Jaukkuri and Gary Michel Dault, ‘Mexas’, 1999, illustrated on fullpage. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

298. Jan Svenungsson, ‘Torn 4’, 1991.

Signed Svenungsson and dated 1991 on verso.

Gelatin silver print 265 x 103 cm including the artist’s frame. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

299. Jean Hermanson, ‘Olof Palme, Byggnadsplats, Hornstull’, 1968.

Signed Jean Hermansson on verso. Printed in the 1970’s. Gelatin silver print, image 18 x 26.7 cm. Sheet 24.5 x 30.5 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer.

Literature: Nils Petter Löfstedt, ‘Himlens Mörkrum’, 2017, illustrated on spread. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

300. Jean Hermanson, ‘Söderköpings gjuteri’, 1969.

Signed Jean Hermansson on verso. Printed in the 1970’s.

Gelatin silver print, image 20 x 27 cm. Sheet 25.3 x 30.3 cm.

Provenance: Private Collection, Stockholm. Acquired directly from the photographer. (d)

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

301. Richard Kern, ‘Monica with Red Table’, 1993.

Signed R Kern and numbered 1/10 on verso. Presumably unique in this size. C–print, image 101 x 69 cm.

Provenance: Galleri Roger Björkholmen, Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

302. Gisèle Freund, ‘Max Ernst à la Fonderie Susse, Paris 1968’.

Signed Gisèle Freund. Bears the photographer’s copyright stamp on verso.

Gelatin silver print, image 30 x 20 cm. Sheet 36.5 x 25 cm.

Provenance: Acquired directly from the photographer by the current owner. (d)

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

303. Gisèle Freund, ‘Henri Matisse, Paris, 1948’.

Signed Gisèle Freund. Bears the photographer’s copyright stamp on verso.

C–print, image 29.8 x 28.5 cm. Sheet 40.5 x 30.5 cm.

Provenance: Acquired directly from the photographer by the current owner.

Literature: Musee National d’art moderne Centre Pompidou, ‘Gisele Freund Itineraires’, 1991, illustrated on p. 168. (d)

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

304. Gisèle Freund, ‘André Breton, Paris, 1956’.

Signed Gisèle Freund. Bears the photographer’s copyright stamp on verso.

C–print, image 30 x 20 cm. Sheet 37.5 x 25.5 cm.

Provenance: Acquired directly from the photographer by the current owner. (d)

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

305. Lai Fong, ‘The Sino–Japanese Hostilities, Shanghai, 1937’.

Album with 100 gelatin silver prints mounted in pairs or threes on black paper leaves, sheet 6 x 8 cm per print. Cloth covered cardboard cover, black silk tie, silvery embossed illustration and title on the front cover. Album 15.3 x 23.5 cm.

Provenance: By inheritance to the current owner.

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

I N T R O D U C T I O N, KARIN AND LARS HALL COLLECTION Photography was something very close to Lars Hall’s heart. The first exhibition of photography that he saw was Edward Steichen’s Vi människor – The Family of Man, shown at Liljevalchs Konsthall in 1957. At that time he could have never imagined that 44 years later his own collection would be on display in the same spot. The exhibition 396 Fotografiska förälskelser (396 Photographic Love Affairs) from 2001 was curated by Niclas Östlind. When Bukowskis, in the autumn of 2012, sold 161 images by Swedish photographers from Hall’s collection Östlind described the story behind the Liljevalchs exhibition title: ‘‘To be honest I’m no collector’ was the surprising comment Lars Hall uttered as we were making the selection for the show that we came to call 396 Photographic Love Affairs […]. Considering the number of images accumulated throughout the years the statement was somewhat contradictory. He noticed my surprise, as after all we were surrounded by the photographic collection assembled by Hall and his wife Karin: ‘Of course it is a collection, but there hasn’t been a plan of action. Each image is like a love affair and that’s a sentiment that’s only grown stronger with time.’’

It is a unique opportunity to be able to present a photographic collection of this importance. When the collection was at its biggest it contained more than 400 photographs. Many of the images are iconic in the history of photography, others less well known. What they all have in common is that they were handpicked by people with a great sense for quality and knowledge about the development of the media. Furthermore, the collection very much reflects Karin and Lars Hall’s personal taste. Through their passionate interest, auction finds, gallery visits and gifts the Hall’s collection expanded. During the years many photographs have passed through it.

Due to the great size of the collection the sale will be divided into several auctions. Bukowskis has previously sold a large part of the Swedish works and we now have the pleasure to offer you sixty images of predominantly international photographers. There will also be an online sale in 2021.

Lars Hall (1938–2018) was a successful and award–winning adman, art director and creator, who’s had an enormous influence on the Swedish advertising world. He has been called Sweden’s greatest ever art director.

From 1977 to 1983 he ran, together with his partners at the legendary advertising agency Hall & Cederquist and the photographer Lennart Durehed, the mythical gallery Camera Obscura.

The gallery was the first in Sweden to focus entirely on photography. They exhibited many international photographers that today we consider iconic. Images by Irving Penn, Diane Arbus, Walker Evans, Edward Weston and Christer Strömholm, amongst others, were displayed at the gallery in Stockholm’s Old Town. The market for and interest in photography in Sweden at that time was completely different from now, and it is difficult to imagine from a contemporary perspective just how radical a gallery dedicated to photography was. In New York the photographic scene was flourishing with galleries exhibiting and selling works of both contemporary and historical photographers and MoMa had already had their photographic section for 30 years. Both Lars Hall and Lennart Durehed had been to New York and seen what was possible. When the gallery opened no equivalent institution existed in Scandinavia. Camera Obscura’s first show was a solo–exhibition of Irving Penn’s photographs. All in all Camera Obscura exhibited Penn’s work four times and it was here that his platinum prints were shown for the first time in Europe.

I sincerely hope that many more people will come to experience the love affair with photography that Lars Hall described. This auction includes about sixty images that all deserve to be loved and to find new places in other people’s homes and hearts.

Karin Aringer.

Specialist, Photographs and Contemporary Art.

IRVING PENN Irving Penn travelled a lot, sometimes on commission by Vogue who he ended up being employed by for more than sixty years. In 1948 he visited France, Italy, Spain and Peru. When he was done with a fashion shoot in Lima he extended his stay in Peru in order to portray the local population in Cusco. The city is set high above the sea, in the Andes, and was once the cultural and religious centre of the Inca Empire. Penn visited the city over the Christmas weekend, a holiday where the indigenous population arrived in the city to sell their goods and arts and crafts. During the three days that Penn photographed in Cusco he took more than 2000 images. Eleven of these, including this image of the two small children, were published in Vogue in 1949 as part of a feature entitled ‘Christmas at Cuzco’.

As was Penn’s custom the portrait was taken in a borrowed daylight studio.

A simple canvas background and a bare stone floor frame a small solitary pillar table. The children are in the same frayed clothes and hats they would

usually be wearing. The looks on the children’s faces are impenetrable, and in some ways timeless. They’re young and barefooted, yet at the same time dressed as grown–ups and with such serious eyes. Their interlaced hands form the focal point of the image.

Other examples of this subject are included in the collections of the National Gallery of Art in Washington DC and at the Metropolitan Museum of Art in New York. Several motifs taken at the same time in Cusco can be found in the collection of Moderna Museet.

326. Irving Penn, ‘Cuzco Children’, 1948.

Signed Irving Penn and dated December 1976 – January 1977 and numbered 31/60 on verso. Stamped ‘Hand coated by the photographer’ and ‘Photograph by Irving Penn, Copyright 1960 by The Condé Nast Publications Inc.’ on verso. Platinum and Platinum Palladium print mounted on aluminum, image 49.5 x 51 cm. Sheet 56.2 x 63.5 cm.

Estimate: SEK 400 000 – 500 000 / EUR 38 390 – 47 990

306. Alexander Liberman, ‘Irving Penn and Lisa Fonssagrives, New York, 1950’.

Signed A Liberman and numbered 14/15 on verso. Copyright stamp on verso . Gelatin silver print, image 22.6 x 34 cm. Sheet 27.7 x 35.2 cm.

Provenance: Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ‘Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Literature: Alexander Liberman and Calvin Tomkins, ‘THEN: Alexander Liberman Photographs 1925–1995’, 1995, illustrated on spread p. 12–13.

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

307. William Klein, ‘Bikini, Moscow, 1959’.

Signed William Klein and dated 1982 on verso. The photographer’s stamp on verso. Gelatin silver print, image 25 x 34 cm.

Provenance: Karin & Lars Hall Collection.

Exhibitions: Statoil Art Programme, Oslo, ‘Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: William Klein, exhibition catalogue Musée National d’Art Moderne Centre Pompidou, 1983, illustrated on p. 90.

William Klein, exhibition catalogue Musée National d’Art Moderne Centre Pompidou, 2005, illustrated on p. 110–111.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

308. André Kertész, ‘Satiric Dancer, Paris’, 1926.

Signed A. Kertész on verso. Printed ca 1970. Gelatin silver print, image 50 x 40 cm.

Sheet 50.5 x 40.5 cm.

Provenance: Karin & Lars Hall Collection. Acquired directly from the photographer 1980.08.26.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Michel Frizot and Annie–Laure Wanaverbecq, ‘Kertész’, 2010, illustrated on fullpage p. 87.

Sarah Greenough, Robert Curbo och Sarah Kennel, ‘André Kertész’, 2005, illustrated pl. 47.

Sandra Phillips e.a, ‘André Kertész in Paris’, 1992, illustrated on fullpage p. 31.

Ben Lifson and Jane Corkin, ‘André Kertesz. A lifetime of Photography’, 1982, illustrated on fullpage p. 243. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 360 – 3 840

309. André Kertész, ‘Quatour, Paris’, 1926.

Signed A. Kertész on verso. Printed ca 1970. Gelatin silver print, image 15 x 24.5 cm.

Provenance: Karin & Lars Hall Collection. Acquired directly from the photographer 1980.08.26.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Michel Frizot and Annie–Laure Wanaverbecq, ‘Kertész’, 2010, illustrated on fullpage p. 80.

Sarah Greenough, Robert Curbo and Sarah Kennel, ‘André Kertész’, 2005, illustrated on fullpage 53.

Ben Lifson and Jane Corkin, ‘André Kertesz. A lifetime of Photography’, 1982, illustrated on fullpage p. 43 (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 730 – 1 920

310. Weegee (Arthur Fellig), Untitled, 1950’s.

Copyright stamp Weegee The Famous on verso. Gelatin silver print, image 29.5 x 26.5 cm. Sheet 35.2 x 28 cm.

Provenance: Harry Lunn Jr, Washington D.C. Karin & Lars Hall Collection.

Exhibitions: Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

311. Edouard Boubat, ‘Jardin du Luxembourg, Paris’, 1955.

Signed E. Boubat. Gelatin silver print, image 23.5 x 35.5 cm.

Provenance: Rapho, Paris.

Karin & Lars Hall Collection. Acquired in 1981.

Exhibitions: Statoil Art Programme, Oslo, ‘Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Peter Stepan (ed.), ‘Icons of Photography. The 20th Century’, illustrated on fullpage p. 131.

Edouard Boubat, ‘Les Boubat de Boubat’, 1989, illustrated on spread. Arc Musee d’Art Moderne de la Ville de Paris, ‘Boubat’, exhibition catalogue, 1980, illustrated p. 30.

Edouard Boubat, ‘Edouard Boubat, La Survivance’, 1976, illustrated on spread p. 26–27. (d)

Estimate: SEK 10 000 – 12 000 / EUR 960 – 1 160

312. Edouard Boubat, ‘Orléans, France’, 1977.

Signed E. Boubat. Also signed on verso. Vintage. Gelatin silver print, image 35.5 x 24 cm.

Provenance: Rapho, Paris.

Karin & Lars Hall Collection. Acquired in 1981.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Camera Obscura, Stockholm, ‘Edouard Boubat’, 16 May – 18 June 1981.

Literature: Edouard Boubat, ‘Intimacies’, 1980, illustrated on pl. 13. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

313. Edouard Boubat, ‘Inde’, 1962.

Signed Edouard Boubat on verso. Gelatin silver print, image 36 x 23.5 cm.

Provenance: Rapho, Paris.

Karin & Lars Hall Collection. Acquired in 1981.

Exhibitions: Statoil Art Programme, Oslo, ‘Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011. (d)

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

314. Edouard Boubat, ‘Portugal’, 1957.

Signed Boubat on verso. Gelatin silver print, image 35.5 x 24 cm.

Provenance: Rapho, Paris.

Karin & Lars Hall Collection. Acquired in 1981.

Exhibitions: Statoil Art Programme, Oslo, ‘Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Literature: Edouard Boubat, ‘Intimacies’, 1980, illustrated on fullpage p. 55. (d)

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

315. Jan Groover, ‘Untitled’, 1979.

Signed Jan Groover and dated 26.1.1979 and numbered 3/3. Vintage.

C–print, image 37.5 x 48 cm.

Provenance: Sonnabend Gallery, New York.

Karin & Lars Hall Collection. Acquired in 1980.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ‘Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Literature: Susan Kismaric, ‘Jan Groover’, 1987, illustrated pl. 10.

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

316. Mark Cohen, ‘Wilkes–Barre, Pennsylvania, June 1975’.

Signed Mark Cohen and dated 1975 on verso. Gelatin silver print, image 20.5 x 30.5 cm.

Provenance: Marlborough Gallery, New York.

Karin & Lars Hall Collection. Acquired in 1982.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Camera Obscura, ‘Camera Obscura 1977–1981, volym 1’, 1981, illustrated on p. 67.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

317. Annie Leibovitz, ‘Andrée Putman, New York, 1989’.

Signed Annie Leibovitz and numbered 3/40 on verso. Vintage.

Dedication on verso ‘To Karin and Lars from their new friend Andrée, Nov. 1992’. Gelatin silver print, image 40 x 32 cm.

Provenance: James Danziger Gallery, New York.

Karin & Lars Hall Collection. Acquired 1992.04.24.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 35 000 – 40 000 / EUR 3 360 – 3 840

318. Annie Leibovitz, ‘Stealth Bomber, Langley Air Base, Virginia’, 1991.

Signed Annie Leibovitz and numbered 3/25. Gelatin silver print, image 35.5 x 45 cm.

Sheet 40.3 x 50.5 cm.

Provenance: James Danziger Gallery, New York.

Karin & Lars Hall Collection. Acquired 1992.04.24.

Exhibitions: Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

319. Duane Michals, ‘I Build a Pyramid’, 1978.

Edition of 25. Series of six gelatin silver prints, image 16 x 24 cm per part.

Framed together, 96 x 83 cm including frame.

Provenance: Karin & Lars Hall Collection. Acquired directly from the photographer.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Duane Michals, ‘Merveilles d’Egypte. Journal d’un voyage –3’, 1978, illustrated on several fullpages p. 42–47.

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

320. Eadweard Muybridge, Plate 284 from ‘Animal Locomotion’, 1887.

Printed copyright on verso. Woodburytype, image 13.5 x 45 cm.

Provenance: Stephen White’s Gallery, Los Angeles.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 7 000 – 10 000 / EUR 680 – 960

321. Eadweard Muybridge, Plate 305 from ‘Animal Locomotion’, 1887.

Printed copyright on verso. Woodburytype, image 20.5 x 35 cm.

Provenance: Stephen White’s Gallery, Los Angeles.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 7 000 – 10 000 / EUR 680 – 960

322. Isabel Munoz, ‘De la série Tango (couple, chaussures, bas de la robe)’, 1989.

Signed I Munoz and numbered 2/7 on verso. Printed in May 2001.

Platinum print, image 120 x 80 cm. Including frame 155 x 115 cm.

Provenance: L’Agence Vu, Paris.

Karin & Lars Hall Collection. Acquired 2001.04.30.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001 (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

323. Isabel Munoz, ‘De la série Flamenco (nombril)’, 1989.

Signed I Munoz and numbered 2/7 on verso. Printed in May 2001.

Platinum print, image 120 x 80 cm. Including frame 155 x 115 cm.

Provenance: L’Agence Vu, Paris.

Karin & Lars Hall Collection. Acquired 2001.04.30.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

IRVING PENN Woman with Roses on Her Arm is said to have been one of Irving Penn’s favourite photographs.

The image depicts Lisa Fonssagrives–Penn – a famous model as well as Irving Penn’s wife.

Fonssagrives–Penn (1911–1992) was the world’s first supermodel, before the term was even invented.

From the 1930s to the 1950s she was known as ‘the most highly paid, most famous and greatest model of all’, and appeared regularly in magazines such as Vogue, Harper’s Bazaar, Life and Vanity Fair.

She was born and raised in Sweden but moved to Paris in the 1930s, where she met her first husband, Fernand Fonssagrives – a dancer and later photographer. Together they created fashion images that met with great success and paved the way for Lisa’s career as a supermodel.

In 1939 the couple moved to New York, where eventually their marriage dissolved. During a modelling job Lisa met photographer Irving Penn and the two took a liking to each other. They were married the same year as this iconic image of Lisa was taken in Paris – 1950.

Sara Danius has written in the daily Dagens Nyheter about the couple’s collaboration and about Penn’s talent as a fashion photographer: ‘Irving Penn eliminated all forms of props and concentrated on the light, the model, the cut of the clothes… It was his way of showing respect to the designer and the seamstress. At the same time he was translating minimalism for the world of fashion. He worked with a neutral background, like the worn theatre–curtain. Bike messengers would deliver the clothes to the studio in the morning, to return with them later the same day.

It was an unusually good year for French designers. But it all hinged on finding the right kind of models.

Irving Penn had a knack for that too. He wanted Lisa Fonssagrives and a handful of other models from the USA. Fonssagrives was born and raised on the west coast of Sweden. As a former dancer and gymnast she knew how to move in a room for the light to sculpt itself across her body.

She was the first supermodel. No one was better paid than her, no one was more celebrated. Fonssagrives had an exquisite sense of style, she seemed at one with the clothes and was able to express their inherent movement like no other. People who met them recalled that there was a special aura surrounding Irving Penn and Lisa Fonssagrives. Later that same autumn they married in London.’

Penn printed Woman with Roses on Her Arm (Lisa Fonssagrives–Penn in Lafaurie Dress) in 1977 as a platinum–palladium print. The image was included in Camera Obscura’s first exhibition that same year. At the time the gallery was Sweden’s first and only gallery focused on photography. They organised a number of shows with what were then the best Swedish and international photographers. But their first exhibition was with Irving Penn – this was thanks to Lennart Durehed, who for a time had worked as assistant to the already famous photographer.

In 2015 Lars Hall recalled: ‘–Lisa is about 39 in the image. She was a model and knew exactly what the result of her movements would be in front of the camera. What I particularly like with this image is that you can make out another face, a profile, from out of the folds of her dress’.

325. Irving Penn, ‘Woman with Roses on Her Arm (Lisa Fonssagrives–Penn in Lafaurie Dress)’, 1950.

Signed Irving Penn and dated November 1977 and numbered 17/40 on verso. Stamped, ‘Hand coated by the photographer’ and ‘Photograph by Irving Penn. Copyright 1950 by Les editions Conde Nast S.A.’ on verso.

Platinum and Platinum Palladium print mounted on aluminum, image 54 x 36.5 cm. Sheet 63.3 x 56 cm.

Estimate: SEK 600 000 – 700 000 / EUR 57 590 – 67 180

324. Joel Meyerowitz, ‘Edmond Wilson Cottage, Cape Cod, Wellfleet’, 1976.

Signed Joel Meyerowitz and numbered 4/6 + 20 on verso. C–print, image 19.5 x 24.5 cm.

Sheet 28 x 35.5 cm.

Provenance: Presumably Witkin Gallery, New York.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 7 000 – 10 000 / EUR 680 – 960

325. Irving Penn, ‘Woman with Roses on Her Arm (Lisa Fonssagrives–Penn in Lafaurie Dress)’, 1950.

Signed Irving Penn and dated November 1977 and numbered 17/40 on verso. Stamped, ‘Hand coated by the photographer’ and ‘Photograph by Irving Penn. Copyright 1950 by Les editions Conde Nast S.A.’ on verso. Platinum and Platinum Palladium print mounted on aluminum, image 54 x 36.5 cm. Sheet 63.3 x 56 cm.

Provenance: Marlborough Gallery, New York.

Camera Obscura, Stockholm.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Skövde Konstmuseum, ‘Irving Penn, Fotografier’, 2 June – 4 August 2007.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Camera Obscura, Stockholm, ‘Irving Penn’, 3 November – 11 December 1977.

Literature: David Seidner, ‘Lisa Fonssagrives. Three decades of Classic Fashion Photography’, 1996, illustrated on fullpage p. 131.

Marlborough Gallery, ‘Utställning med 57 fotografiska platinum prints av Irving Penn på Camera Obscura, 3 November – 16 December 1977’, 1977, illustrated on p. 24.

Colin Westerbeck, ‘Irving Penn. A Career in Photography’, 1997, illustrated on fullpage p. 84.

Anna Wintour, ‘On the Edge. Images from 100 Years of Vogue’, 1992, illustrated on fullpage p. 89.

Nicholas Callaway, ‘Passage’, 1991, illustrated p. 85.

Sarah Greenaugh, ‘Irving Penn. Platinum Prints’, 2005, illustrated on fullpage p. 51 and p 2 (flyleaf) and on the cover.

John Szarkowki, ‘Irving Penn’, 1984, illustrated on fullpage p. 92. Irving Penn, ‘A notebook at random’, 2004, illustrated p. 30.

Estimate: SEK 600 000 – 700 000 / EUR 57 590 – 67 180

326. Irving Penn, ‘Cuzco Children’, 1948.

Signed Irving Penn and dated December 1976 – January 1977 and numbered 31/60 on verso. Stamped ‘Hand coated by the photographer’ and ‘Photograph by Irving Penn, Copyright 1960 by The Condé Nast Publications Inc.’ on verso. Platinum and Platinum Palladium print mounted on aluminum, image 49.5 x 51 cm. Sheet 56.2 x 63.5 cm.

Provenance: Marlborough Galleries, New York.

Camera Obscura, Stockholm.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Skövde Konstmuseum, ‘Irving Penn, Fotografier’, 2 June – 4 August 2007.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Maria Morris Hambourg and Jeff Rosenheim, ’Irving Penn: Centennial’, 2017, illustrated on pl. 50.

Sarah Greenough and Irving Penn, ‘Irving Penn Platinum Prints’, 2005, illustrated on pl. 15.

Irving Penn, ’A Notebook at Random’, 2004, illustrated on p. 91.

Irving Penn e.a, ‘Passage, a work recorded’, 1991, illustrated on fullpage p. 61.

John Szarkowski, ‘Irving Penn’, 1984, illustrated on pl. 5.

Irving Penn, ‘Worlds in a Small Room’, 1974, illustrated on p. 13.

Irving Penn, ’Moments Preserved’, 1960, illustrated on p. 98–99.

Estimate: SEK 400 000 – 500 000 / EUR 38 390 – 47 990

327. August Sander, ‘Sekretärin beim Westdeutschen Rundfunk in Köln (Secretary at West German Radio in Cologne)’, 1931.

Printed in 1979 by Gunther Sander for Aperture. Signed Gunther Sander on verso.

Embossed stamp ‘Aug. Sander, Lindenthal, Köln’. Gelatin silver print, image 29.5 x 21 cm.

Sheet 30.3 x 23.7 cm.

Provenance: Galerie Rudolf Kicken, Köln.

Karin & Lars Hall Collection.

Exhibitions: Hauser & Wirth, Los Angeles, ‘August Sander. New Women, New Men and New Identities’, 13 February – 19 July 2020. Another example exhibited.

Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Moderna Museet, Stockholm, ‘En annan historia: Skrivet i ljus’, 9 November 2011 – 15 February 2012.

Another example exhibited.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Moderna Museet, Stockholm, ‘I skuggan av ljuset : fotografi och systematik i konst, vetenskap och vardagsliv’ , 3 October 1998 – 15 November 1998. Another example exhibited.

Literature: Russel Roberts, ‘I skuggan av ljuset : fotografi och systematik i konst, vetenskap och vardagsliv’, 1998, illustrated.

Camera Obscura, ‘Camera Obscura 1977–1981, volym 1’, 1981, illustrated on p. 31. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

328. August Sander, ‘The Pharmacist, Linz, 1931’.

Printed in 1980 by Gunther Sander for Aperture. Signed Gunther Sander and numbered 200/400 on verso. Gelatin silver print, image 24 x 18 cm. Sheet 24.7 x 18.6 cm.

Provenance: Galerie Rudolf Kicken, Köln.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001. (d)

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

329. Karl Blossfeldt, ‘Urformen der Kunst’, 1928 (22 parts).

From ‘Urformen der Kunst, ‘Wundergarten der Natur’ and ‘Wunder in der Natur’.

First edition. 22 photo gravures, image circa 27 x 20 cm. Framed separately, 49 x 41 cm including frame.

Provenance: Michael Hoppen Photography, London.

Karin & Lars Hall Collection. Acquired 1998.09.14.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001 Literature: Hans Christian Adam, ‘Karl Blossfeldt’, 1999, illustrated.

Gert Mattenklott, ‘Karl Blossfeldt 1865–1932, Das Fotografische Werk’, 1981, illustrated.

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

330. Eugène Atget, ‘L’Eclipse, Place de la Bastille’, 1912.

Printed later by Berenice Abbott. Stamp on verso.

Gelatin silver print, image 17.5 x 23 cm.

Provenance: Harry Lunn Jr, New York.

Karin & Lars Hall Collection. Acquired in 1978.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Peter Barberie, ‘Looking at Atget’, 2005, illustrated p. 53.

Molly Nesbit, ‘Atget’s Seven Albums’, 1992, illustrated on fullpage.

Arthur D. Trottenberg, ‘A Vision of Paris’, 1980, illustrated p. 23.

Camera Obscura, ‘Camera Obscura 1977–1981, volym 1’, 1981, illustrated p. 4.

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

331. Eugène Atget, ‘Caleche’, 1910.

Printed later by Berenice Abbott. Stamp on verso.

Gelatin silver print, image 23.5 x 17.5 cm.

Provenance: Harry Lunn Jr, New York.

Karin & Lars Hall Collection. Acquired in 1978.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Molly Nesbit, ‘Atget’s Seven Albums’, 1992, illustrated.

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

332. Eugène Atget, ‘Faucheur’, before 1900.

Printed later by Berenice Abbott. Stamp on verso.

Gelatin silver print, image 17.5 x 23 cm. Sheet 20.2 x 25 cm.

Provenance: Harry Lunn Jr, New York.

Karin & Lars Hall Collection. Acquired in 1978.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

333. Ralph Gibson, From the series ‘Days at Sea’, 1974.

Signed Ralph Gibson and dated 1974 and numbered 3/25 on verso.

Gelatin silver print, image 23.5 x 15.5 cm.

Provenance: Castelli Graphics, New York.

Karin & Lars Hall Collection.

Literature: Ralph Gibson, ‘Days At Sea’, 1974, illustrated on fullpage.

Simone Philippi and Miles Barth (ed.), ‘Ralph Gibson, Deus ex Machina’, 1999, illustrated on fullpage 252.

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

334. Ralph Gibson, ‘The Chinese Pavillion’, 1973.

Signed Ralph Gibson and dated 1974 and numbered 25/25.

Gelatin silver print, image 21 x 31 cm.

Provenance: Castelli Graphics, New York.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Literature: Simone Philippi och Miles Barth (ed.), ‘Ralph Gibson, Deus ex Machina’, 1999, illustrated on spread p. 504–505.

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

335. Bernard Faucon, ‘The Stained Glass (The Thirteenth Room of Love)’, 1985.

Edition 7/10. C–print, image 61 x 60 cm. Including frame 87 x 83 cm.

Provenance: Castelli Uptown, New York.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 april – 1 juli 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Walker Art Centre, Minneapolis, ‘Cross–references: Sculpture in to Photography’, 20 September – 13 December 1987.

Museum of Contemporary Art, Chicago, ‘Cross–references: Sculpture in to Photography’, 29 January – 10 April 1988. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

336. Irving Penn, ‘Nude 58’, 1950.

Signed Irving Penn and dated 1968 and numbered 14/33 on verso. Stamped ‘Handcoated by the photographer’ and ‘Copyright 1950 by Irving Penn’ on verso.

Platinum palladium print, image 48 x 46 cm. Sheet 56 x 57 cm.

Provenance: Marlborough Galleries, New York.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Skövde Konstmuseum, ‘Irving Penn, Fotografier’, 2 June – 4 August 2007.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Jan–Erik Lundström and Camilla Carlberg (ed.), ‘Irving Penn, fotografier, en donation till minne av Lisa Fonssagrives–Penn’, Moderna Museet exhibition catalogue, 1996, illustrated on p. 249.

Estimate: SEK 200 000 – 300 000 / EUR 19 200 – 28 790

337. Tom Sandberg, Untitled, 1989.

Signed Tom Sandberg and dated 1989, and numbered 11.50. Vintage.

Gelatin silver print, image 28.5 x 43.3 cm.

Provenance: Karin & Lars Hall Collection. Acquired directly from the photographer.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

338. Tom Sandberg, Untitled, 1979.

Signed Tom Sandberg and dated 1979 and numbered 9/50. Vintage.

Gelatin silver print, image 29 x 43.4 cm.

Provenance: Karin & Lars Hall Collection. Acquired directly from the photographer.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Astrup Fearnley Museet for Moderne Kunst, ‘Tom Sandberg – Fotografi’, 2000, illustrated on p. 30. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

339. Tom Sandberg, Untitled, 1981.

Signed Tom Sandberg and dated 81. Also signed and dated July 1981 and numbered 1/50 on verso. Vintage. Gelatin silver print, image 46 x 30 cm.

Provenance: Karin & Lars Hall Collection. Acquired directly from the photographer.

Exhibitions: Statoil Art Programme, Oslo, ‘Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

340. Dawid (Björn Dawidsson), ‘#2120’, 1985.

Signed Dawid and numbered 2/2 and dated 1987 on verso. Vintage. From the series ‘Arbetsnamn skulptur’. Gelatin silver print, image 19.4 x 24.5 cm. Sheet 23.8 x 30.4 cm.

Frame made by the photographer, 49.5 x 55 cm including frame.

Provenance: Lars & Karin Hall Collection. Acquired directly from the photographer.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Ulf Linde, ‘Mot fotografiet – Dawid: Arbetsnamn Skulptur’,1989, illustrated on fullpage pl. 2120.

Museum Folkwang, ‘Dawid M+M Serie’, 1993, exhibition catalogue, illustrated.

Michael Mack (ed.), ‘Dawid – Beautiful Frames’, 2001, illustrated on fullpage p. 19. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

341. Irving Penn, ‘Nude’, 1949–1950.

Signed Irving Penn on verso. Presumably edition 3/13. Stamped ‘Photograph

by Irving Penn, Copyright 1980 by The Condé Nast Publications Inc.’ on verso.

Gelatin silver print, image 39.8 x 37.8 cm. Sheet 50.8 x 40.3 cm.

Provenance: Marlborough Galleries, New York.

Karin & Lars Hall Collection.

Exhibitions: Skövde Konstmuseum, ‘Irving Penn, Fotografier’, 2 June – 4 August 2007.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 150 000 – 200 000 / EUR 14 400 – 19 200

342. Imogen Cunningham, ‘Phoenix Recumbent’, 1968.

Printed later by Imogen Cunningham Trust, California. Embossed signature on the mount. Gelatin silver print mounted to cardboard, 32 x 24.5 cm.

Provenance: The Imogen Cunningham Trust, California, USA. Karin & Lars Hall Collection.

Exhibitions: Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Monica Fuentes Santos (ed.), ‘Imogen Cunningham’, 2012, illustrated on fullpage p. 235.

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

343. Imogen Cunningham, ‘Aiko’s Hands’, 1971.

Printed later by Imogen Cunningham Trust, California. Embossed signature on the mount. Gelatin silver print mounted to cardboard, image 26 x 31 cm.

Provenance: The Imogen Cunningham Trust, California, USA. Karin & Lars Hall Collection.

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

344. Imogen Cunningham, ‘Rubber Plant’, ca 1929.

Printed later by Imogen Cunningham Trust, California. Embossed signature on the mount. Gelatin silver print mounted to cardboard, 32.5 x 25.5 cm.

Provenance: The Imogen Cunningham Trust, California, USA. Karin & Lars Hall Collection.

Exhibitions: Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Monica Fuentes Santos (ed.), ‘Imogen Cunningham’, 2012, illustrated on fullpage p. 100.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

345. William Henry Fox Talbot, ‘Bust of Patroclus’, 1842.

Salt print, image ca 18 x 17 cm. Sheet 22.5 x 18.5 cm.

Provenance: Christie’s, London.

Karin & Lars Hall Collection. Acquired in 1980.10.30.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011 Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Camera Obscura, ‘Camera Obscura 1977–1981, volym 1’, illustrated on p. 7.

Larry J. Schaaf, ‘The Photographic Art of William Henry Fox Talbot’, compare image p. 149.

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

346. William Henry Fox Talbot, ‘Melrose Abbey, Scotland’, 1844.

Salt print, image 17.5 x 21 cm. Sheet 18.5 x 23 cm.

Provenance: Christie’s, London.

Karin & Lars Hall Collection. Acquired in 1980.10.30.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011 Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Camera Obscura, ‘Camera Obscura 1977–1981, volym 1’, illustrated on p. 4.

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

347. William Henry Fox Talbot, ‘Lacock Abbey’, 1842.

Salt print laid down on cardboard, image 8.5 x 11 cm.

Provenance: Christie’s, London.

Karin & Lars Hall Collection. Acquired in 1980.10.30.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

348. Edward Weston, ‘Church Door, Hornitus, California, 1940’.

Printed later by Cole Weston. Stamped ‘Negative by Edward Weston, Print by Cole Weston’ on verso. Gelatin silver print mounted to cardboard, image 19 x 24 cm.

Provenance: Cole Weston, San Fransisco.

Karin & Lars Hall Collection.

Exhibitions: Statoil Art Programme, Oslo, ‘Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Simon Baker, Shoair Mavlian and Newell Harbin (ed.), ‘The Radical Eye’, 2016, illustrated.

Manfred Heiting (ed.), ‘Edward Weston 1886–1958’, 2001, illustrated on fullpage p. 149.

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

349. Edward Weston, ‘Nude’, 1927.

Printed later by Cole Weston. Stamped ‘Negative by Edward Weston, Print by Cole Weston’ on verso. Gelatin silver print mounted to cardboard, image 17.5 x 23.5 cm.

Provenance: Cole Weston, San Fransisco.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

350. Charles Jones, ‘Seeding Pansies’, 1900–1902.

Signed C.J on verso. Vintage. Unique. Gelatin silver print, image 15 x 10.6 cm.

Provenance: Sotheby’s, London, 13 maj 1994, Sale LN4275 Lot 106.

Karin & Lars Hall Collection. Acquired from the above.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

351. Charles Jones, ‘Potato Midlothian Early, Ote Hall, Sussex’, 1900–1902.

Signed C.J on verso. Vintage. Unique. Gelatin silver print, image 10.7 x 15.5 cm.

Provenance: Hamilton’s Gallery, London.

Karin & Lars Hall Collection. Acquired in 1998.10.02.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Sean Sexton and Robert Flynn Johnson, ‘The Plant Kingdom of Charles Jones, 1998, compare image on p. 50. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

352. Joel–Peter Witkin, ‘Lisa Lyons as the Anavyssos Kouros’, 1983.

Signed Joel–Peter Witkin and dated 1984 and numbered 3/15 on verso. Vintage.

Gelatin silver print, image 36 x 37 cm.

Provenance: Pace/MacGill Gallery, New York.

Karin & Lars Hall Collection. Acquired 1993.09.22.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

353. Jacques–Henri Lartigue, ‘Zissou et Madeleine Thibault, Rouzat’, 1911.

Signed J.H Lartigue. Gelatin silver print, image 22 x 34 cm.

Provenance: Robert Delpire, Paris.

Karin & Lars Hall Collection.

Exhibitions: Statoil Art Programme, Oslo, ‘Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Vicki Goldberg, ‘Jacques Henri Lartigue, Photographer’, 1998, illustrated on fullpage.

Jacques–Henri Lartigue, ‘J.H Lartigue et les autos’, 1974, illustrated on p. 40. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

354. Jacques–Henri Lartigue, ‘Simone Roussel’, 1913.

Signed J.H Lartigue. Gelatin silver print, image 24 x 31 cm.

Provenance: Robert Delpire, Paris.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Camera Obscura, Stockholm, ‘Jacques Henri Lartigue and Joel Meyerowitz’, 20 October – 24 November 1979. (d)

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

355. Jacques–Henri Lartigue, ‘Papa et Maman, Pont–de–l’Arche’, 1902.

Signed J.H Lartigue. Gelatin silver print, image 24 x 32.5 cm.

Provenance: Robert Delpire, Paris.

Karin & Lars Hall Collection.

Exhibitions: Statoil Art Programme, Oslo, ‘Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Literature: Vicki Goldberg, ‘Jacques Henri Lartigue, Photographer’, 1998, illustrated on fullpage.

Bertrand Poirot Delpech e.a, ‘Jacques–Henri Lartigue, Le choix du bonheur’, 1992, illustrated on fullpage. (d)

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

356. Jacques–Henri Lartigue, ‘Renée, Paris, janvier, 1931’.

Signed J.H. Lartigue. Printed in the 1970’s. Gelatin silver print, image 24.2 x 35.8 cm.

Provenance: Robert Delpire, Paris.

Camera Obscura, Stockholm.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Camera Obscura, Stockholm, ‘Jacques Henri Lartigue and Joel Meyerowitz’, 20 October – 24 November 1979.

Literature: Deborah Aaronson (ed.), ‘Album of a Century’, 2003, illustrated on fullpage p. 214.

Bertrand Poirot–Delpech e.a, ‘Jacques–Henri Lartigue, Le choix du bonheur’, 1992, illustrated on p. 139.

Jacques–Henri Lartigue, ‘The Diary of a Century’, 1970, illustrated, slightly cropped, pages 196–197. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

357. Jacques–Henri Lartigue, ‘Tentative de vol de Zissou, Chatelguyon’, 1905.

Signed J.H Lartigue. Gelatin silver print, image 34 x 24 cm.

Provenance: Robert Delpire, Paris.

Karin & Lars Hall Collection.

Exhibitions: Statoil Art Programme, Oslo, ‘Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Literature: Bertrand Poirot Delpech e.a, ‘Jacques–Henri Lartigue, Le choix du bonheur’, 1992, illustrated on fullpage. (d)

Estimate: SEK 10 000 – 15 000 / EUR 960 – 1 440

358. Hans Gedda, Untitled, 1988.

Signed Hans Gedda and dated 30.1.88. Printed in 2001. Toned gelatin silver print, image 82.5 x 67 cm.

Provenance: Karin & Lars Hall Collection. Acquired directly from the photographer.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

359. Per Maning, ‘Dvergflodhest, Aalborg, 1991’.

Signed Per Maning and dated 1992 on verso. Vintage. Gelatin silver print, image 42.5 x 42.5 cm.

Provenance: Karin & Lars Hall Collection. Acquired directly from the photographer.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

360. David Octavius Hill & Robert S. Adamson, ‘Lady Mary Ruthven’, 1845.

Carbon print, image 20 x 15 cm. Sheet 28 x 20 cm.

Provenance: Stephen White’s Gallery, Los Angeles.

Karin & Lars Hall Collection.

Exhibitions: Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 20 000 – 30 000 / EUR 1 920 – 2 880

361. David Octavius Hill & Robert S. Adamson, ‘Christofer North (Professor Wilson)’, 1840’s.

Marked David Octavius Hill, Camera Work #XI MDCCCCV on the back of the frame. Carbon print, image 18.5 x 14 cm. Sheet 20 x 15 cm.

Provenance: Stephen White’s Gallery, Los Angeles.

Karin & Lars Hall Collection.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

362. Okänd konstnär 1800–tal, 12 photographs of Kabylian children, ca 1910.

Series of twelve gelatin silver prints, image 12 x 16 cm per part. Framed together, 80 x 100 cm including frame.

Provenance: Hypnos, Paris.

Karin & Lars Hall Collection. Acquired 1999.11.20.

Exhibitions: Abecita Konstmuseum, ‘Ur Karin och Lars Hall Collection’, 21 April – 1 July 2012.

Statoil Art Programme, Oslo, ’Icons of Photography, Treasures from the Karin and Lars Hall Collection’, 31 March – 15 August 2011.

Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

391. Andy Warhol, ‘Mao’.

Silkscreen in colours, 1972, signed in ball point pen and numbered with stamp 114/250 on verso, printed by Styria Studio, Inc., New York, published by Castelli Graphics and Multiples, Inc., New York. I./S. 91,4 x 91.4 cm. Literature: Feldman II 91.

Estimate: SEK 200 000 – 250 000 / EUR 19 200 – 24 000

BANKSY It is one of the most famous motifs of the anonymous street artist Banksy and is based on a stencil painting that first appeared on the streets of London in 2002 along with the message ‘There is always hope’. The Girl with Balloon from 2004 in the auction is, like much of Banksy’s art, ambiguous. It leaves the viewer to decide whether the girl in the image is trying to catch the balloon or if it has slipped from her hand and floated off.

Since the first Girl with Balloon Banksy has created several versions. Perhaps the best known are Flying Balloon Girl from 2005, painted on a West Bank wall in Palestine, and Girl with Balloon – Syrian version from 2014, where the girl is wearing a headscarf. Maybe the child metaphorically represents the never–ending hope for peace and the importance of chasing your dreams.

Banksy is a provocative artist who, through his street art, is transmitting a message to humanity. It seems that the more he takes sides the more his popularity rises. His latest feat is to finance a boat to rescue refugees trying to cross the Mediterranean to get to Europe. The boat is named Louise Michel after a French anarchist and features a Banksy artwork depicting a girl in a life vest stretching her hand out towards a pink heart– shaped safety buoy. The piece unmistakeably brings to mind the original Girl with Balloon.

Bukowskis has also been given the privilege in this autumn’s Contemporary Art & Design auction to sell two further artworks by Banksy.

365. Banksy, ‘Girl with Balloon’.

Screenprint in colours, 2004. Numbered in pencil 400/600. Published by Pictures on Walls, London and with their blind stamp. S: 70 x 50 cm. This lot is accompanied by a certificate of authenticity issued by Pest Control Office. (d) Estimate: SEK 800 000 – 1 200 000 / EUR 76 780 – 115 170

363. Donald Baechler, ‘Some of my subjects’ portfolio with 5 color screenprints.

Portfolio with 5 color screenprints. Signed and numbered 6/86. ‘Beachball’, ‘Flower’, ‘Yellow House’, ‘Blue Pitcher’ and ‘Ice Cream Cone’. Published by Hedenius Editions, Stockholm, printed at Fine Art Printing New York, 2001. S: 99 x 77.5 cm.

Estimate: SEK 60 000 – 80 000 / EUR 5 760 – 7 680

364. Banksy, ‘Morons (Sepia)’.

Screenprint in colours, 2007, signed in pencil, dated and numbered 180/300, published by Pictures on Walls, London (with their blindstamp). (Somerset wove paper). This lot is accompanied by a certificate of authenticity issued

by Pest Control Office’.

Provenance: Purchased at Pictures on Walls, London, 2007.

Private collection, Stockholm. (d)

Estimate: SEK 200 000 – 250 000 / EUR 19 200 – 24 000

365. Banksy, ‘Girl with Balloon’.

Screenprint in colours, 2004. Numbered in pencil 400/600. Published by Pictures on Walls, London and with their blind stamp. S: 70 x 50 cm. This lot is accompanied by a certificate of authenticity issued by Pest Control Office.

Provenance: Allmänna Galleriet 2004/2005, Stockholm.

Private collection, Stockholm (acquired from the above). (d)

Estimate: SEK 800 000 – 1 200 000 / EUR 76 780 – 115 170

366. Banksy, ‘Pulp Fiction’.

Screenprint in colours, 2003, numbered in pencil 92/600, published

by Pictures on Walls, London. Sheet size 48.5 x 69.5 cm. This lot is accompanied by a certificate of authenticity issued by Pest Control Office. (d)

Estimate: SEK 250 000 – 300 000 / EUR 24 000 – 28 790

367. Christo & Jeanne–Claude, ‘Wrapped Telephone, Project for L.M Ericsson model’.

Lithograph in colours, with collage of fabric, twine and photograph, 1985, signed in pencil and numbered 12/100. Printed by Landfall Press, Chicago, published by L. M. Ericsson, New Jersey. 71 x 56 cm.

Literature: Shellmann 119.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

368. Christo & Jeanne–Claude, ‘Ericsson Display Monitor Unit 3111, Wrapped Project for Personal Computer’.

Lithograph in colours with collage of transparent polyethylene, twine, and colour photograph, 1985, signed in pencil and numbered 99/100. Published by L. M. Ericsson, New Jersey 71 x 57 cm.

Literature: Schellmann 120.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

369. Peter Doig, ‘Canoe Island’.

Silkscreen in colours, 2000, signed and numbered 161/300 on verso, published by Counter Editions, London (Somerset paper). S: 74 x 100 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

370. Jim Dine, ‘Wall Chart I’.

Lithograph in colours, 1974, signed in pencil and numbered 47/75, published by Petersburg Press, London. Printed by Landfall Press.

I. 109.5 x 76.5 cm. S. 122.7 x 88.5 cm.

Literature: Krens/Williams College 166.

Estimate: SEK 50 000 – 70 000 / EUR 4 800 – 6 720

371. Jim Dine, ‘Wall chart II’.

Lithograph in colours, 1974, signed in pencil and numbered 21/75, published by Petersburg Press, London. L. 107 x 76.2 cm. S. 123 x 88.5 cm.

Literature: Krens/Williams College 167.

Estimate: SEK 50 000 – 70 000 / EUR 4 800 – 6 720

372. Sam Francis, ‘Untitled’.

Aquatint in colours, 1990, signed in pencil and numbered 12/21, printed and published by The Litho Shop, Inc., Santa Monica. I: 60.3 x 45 cm, S: 88.9 x 70.5 cm.

Literature: Lembark 112. SFE 073.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

373. Carl Johan De Geer, ‘Skända Flaggan’, ‘Vägra vapen’ and ‘USA–Mördare’.

Three screenprints in colour, accompanied by about 60 pages of legal documents related to the trial against the artist. ‘USA–Mördare’: signed and dated 1967 in pencil, S: 64.5 x 52 cm. ‘Skända flaggan’: signed and dated 1967 in pencil and numbered H.C. S: 73 x 51 cm. ‘Vägra vapen’: signed and dated –67 in pencil. S: 69.5 x 51.5 cm.

Provenance: Private collection (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 400 – 19 200

374. Keith Haring, ‘Untitled/Kutztown’.

Silkscreen, 1989, published by the Keith Haring Estate. Certified in pencil on verso by Julia Gruen (Excecutor of the Keith Haring Estate) and numbered 26/99. S: 76 x 46 cm.

Literature: Littmann 134

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

375. Damien Hirst, ‘The Magnificent Seven’.

Signed Damien Hirst and numbered with stamp 473. From the edition of 1500 published to coincide with the exhibition ‘Theories, Models, Methods, Approaches, Assumptions, Results, and Findings’, Gagosian Gallery, New York, 23 September, 2000. Consisting of 7 ping–pong balls with stamp in carton. The diameter of the ball is 7.5 cm and the length of the carton 33 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 770 – 960

376. David Hockney, Red Square and the Forbidden City, from China Diary.

Lithograph in colours, 1982, on wove paper, signed and dated in pencil, numbered 155/1000, published by Thames & Hudson Ltd., London. Together with the book ‘China Diary’, a limited edition artist book with text by Stephen Spender.

Literature: MCA Tokyo 254. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 730 – 1 920

377. Barbara Kruger, ‘You’re Right (And You Know it and So Should Everyone Else)’.

Lithograph in colours, 2010, signed, dated and numbered 157/200, published by Editions and Artists Books Fair, New York, 22.5 x 60.5 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

378. Takashi Murakami, ‘A picture of the Blessed Lion who stares at Death’.

Offset lithograph in colour, 2009, signed and numbered 193/300, published by Kaikai Kiki Co., Ltd., Tokyo, S: 71 x 140 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

379. Claes Oldenburg, ‘Notes in hand’.

Portfolio containing 50 offset lithographs, 1972, all signed and numbered 99/100 in the margin, a cover and 2 portraits of the artist.

Published by Professional Prints Ltd, Switzerland. S: 25 x 20 cm, case 26.5 x 21 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 920 – 2 400

380. Robert Rauschenberg, ‘Untitled’ ur: Horchow Portfolio.

Offset lithograph in colours, 1972, signed, dated and numbered 121/150 in pencil, published by Styria Studio, New York, with their blindstamp. S: 101.5 x 74.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

381. Robert Rauschenberg, ‘Horsefeathers Thirteen–IV’.

7–color offset lithograph, screenprint, pochoir, and embossing with unique collage elements, 1972, signed and numbered in pencil 45/89, published by Gemini G.E.L., Los Angeles. P: 45 x 38 cm, S: 70.8 x 57.15 cm.

Literature: Geimini Publication Sequence Number 473.

Estimate: SEK 15 000 – 20 000 / EUR 1 440 – 1 920

382. Robert Rauschenberg, ‘Tibetan Keys (Centers)’, from ‘Tibetan Keys and Locks’.

Screenprinted multiple with hand–colouring, signed Rauschenberg and dated 1986, numbered 15/18. Published by Gemini G.E.L., Los Angeles 1987, 76 x 76 x 25.5 cm.

Literature: Gemini 1307.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

383. Robert Rauschenberg, ‘Cardbird II’, from ‘Cardbird Series’.

Collage print with tape, steel staples, photo offset lithograph, and screenprint in colours, on corrugated cardboard, 1971, signed on verso and numbered 63/75.

Published by Gemini G.E.L., Los Angeles. 138 x 86 cm.

Literature: Gemini Publication Sequence Number 304.

Estimate: SEK 30 000 – 40 000 / EUR 2 880 – 3 840

384. James Rosenquist, ‘Flowers & Females’.

Monoprint and lithograph in colors with collage, on T.H. Saunders HP drawing paper and Arches 88 paper, 1986. Signed, dated and numbered 1/2 Printer proof, published by Graphicstudio, University of South Florida, Tampa (with their blindstamp). S: 152.4 x 179.1 cm.

Literature: Glenn 208; Graphicstudio 229

Estimate: SEK 150 000 – 200 000 / EUR 14 400 – 19 200

385. Ed Ruscha, ‘Public Market’.

Etching, 2006, on Gampi paper/Chine collé, signed in pencil and numbered 26/30, printed and published by Crown Point Press, San Francisco. S. 65,5 x 74 cm.

Provenance: Crown Point Press, San Francisco.

Grafikens Hus, Mariefred.

Estimate: SEK 25 000 – 30 000 / EUR 2 400 – 2 880

ANDY WARHOL The famous portfolio with Andy Warhol’s three portraits of Ingrid Bergman was first published in 1983 by Galerie Börjeson in Sweden. Warhol’s fascination with Hollywood superstars is well known. Earlier in his career he had produced a number of portraits of film stars using different techniques. On the folder’s flyleaf Per–Olov Börjeson describes a meeting between himself and the artist in which the idea of the portfolio came about: ‘At our meeting in the fall of 1982 we discussed these very ‘Warholian’ portraits and whilst talking about the stars of the cinema Ingrid Bergman’s name was brought up. […] It was during this conversation that the idea of a series of graphic prints to honor the memory of a great artist whom we both admired, was born. […]

In these three prints we meet a new Andy Warhol. Gone is the very deliberate sense of distance that characterized the earlier portraits. Objective, and almost documentary in their lack of personal judgment, they are portraits of roles played rather than lives lived by people. The three portraits of Ingrid Bergman, however, reveal Andy Warhol’s personal feelings and unbounded admiration for a woman and actress that he knew.

The titles of the three prints are: ‘The Nun’ (from ‘The Bells of St Mary’s’), ‘With hat’ (from ‘Casablanca’) and ‘Herself’. This last title reveals just how far Andy Warhol has gone. Beyond the portrait of a star–role to a statement of undisguised, personal feeling in a portrait which is so strikingly beautiful as to reveal the mutual kinship between two great artists.’

392. Andy Warhol, ‘Three portraits of Ingrid Bergman by Andy Warhol’.

The complete portfolio with three silkscreens in colours, 1983, each signed in pencil and numbered 5/250, printed by Rupert Jasen Smith, New York, published by Galerie Börjeson, Malmö. I./S: 96.5 x 96.5 cm. Book ‘Portraits of Ingrid Bergman. Andy Warhol’, published by Galerie Börjeson, 1983. Portfolio included.

Estimate: SEK 800 000 – 1 000 000 / EUR 76 780 – 95 970

386. Frank Stella, ‘Kay Bearman’ from ‘Purple Series’.

Lithograph in colours, 1972, signed in pencil and numbered 75/100.

Published by Gemini G.E.L, Los Angeles, with their blind stamp. S: 40 x 56 cm.

Literature: Gemini Publication Sequence Number 368

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

387. Frank Stella, ‘Henry Garden’ from ‘Purple Series’.

Lithograph in colours, 1972, signed in pencil and numbered 25/100.

Published by Gemini G.E.L, Los Angeles, with their blind stamp. S: 40 x 56 cm.

Literature: Gemini Publication Sequence Number 370

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

388. Frank Stella, ‘Charlotte Tokayer ‘ from ‘Purple Series’.

Lithograph in colours, 1972, signed in pencil and numbered 76/100.

Published by Gemini G.E.L, Los Angeles, with their blind stamp. S: 40 x 56 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

389. Frank Stella, ‘D’ ur ‘Purple Series’.

Lithograph in colours, 1972, signed in pencil and numbered 75/100.

Published by Gemini G.E.L, Los Angeles, with their blind stamp. S: 40 x 56 cm.

Literature: Gemini Publication Sequence Number 371.

Estimate: SEK 12 000 – 15 000 / EUR 1 160 – 1 440

390. Frank Stella, ‘Fanattia’, from: ‘Imaginary Places’.

Etching with engraving, relief, lithograph, stamping, woodcut and mezzotint in colours, 1995, on TGL handmade paper, signed in pencil and numbered 5/24. Published by Tyler Graphics (with the blindstamp). P./S. 138.4 x 104.1 cm.

Literature: Axsom 230

Estimate: SEK 50 000 – 60 000 / EUR 4 800 – 5 760

391. Andy Warhol, ‘Mao’.

Silkscreen in colours, 1972, signed in ball point pen and numbered with stamp 114/250 on verso, printed by Styria Studio, Inc., New York, published by Castelli Graphics and Multiples, Inc., New York. I./S. 91.4 x 91.4 cm.

Literature: Feldman II 91.

Estimate: SEK 200 000 – 250 000 / EUR 19 200 – 24 000

392. Andy Warhol, ‘Three portraits of Ingrid Bergman by Andy Warhol’.

The complete portfolio with three silkscreens in colours, 1983, each signed in pencil and numbered 5/250, printed by Rupert Jasen Smith, New York, published by Galerie Börjeson, Malmö. I./S: 96.5 x 96.5 cm. Book ‘Portraits of Ingrid Bergman. Andy Warhol’, published by Galerie Börjeson, 1983. Portfolio included.

Provenance: Galerie Börjeson, Malmö, Sweden Literature: Feldman II.313.

Estimate: SEK 800 000 – 1 000 000 / EUR 76 780 – 95 970

393. Andy Warhol, ‘Cow’.

Silkscreen, 1971, printed by Bill Miller’s Wallpaper Studio, Inc., New York, published by Factory Additions, New York, and for a Warhol exhibition at the Whitney Museum of American Art, New York. S. 115.5 x 75.5 cm.

Literature: Feldman II.12

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

394. Andy Warhol, ‘Leonardo da Vinci, The annunciation’, from: ‘Details of renaissance paintings’.

Silkscreen, 1984, signed in pencil and numbered 50/60, printed by Rupert Jasen Smith, New York, published by Editions Schellmann & Klüser, Munich/New York. 63.5 x 94 cm, S: 81.2 x 111.8 cm.

Literature: Feldman II 322.

Estimate: SEK 200 000 – 250 000 / EUR 19 200 – 24 000

395. ‘The New York Collection for Stockholm’.

29 of 30 prints in various techniques, 1973, published by Experiments in Art and Technology. Not all signed by the artists and numbering differs between HC 4/6, 5/6 and 6/6. Sheet size various ca 30 x 22. Contains works by Lee Bontecou, Robert Breer, John Chamberlain, Walter de Maria, Jim Dine, Mark di Suvero, Öyvind Fahlström, Dan Flavin, Red Grooms, Hans Haacke, Alex Hay, Donald Judd, Ellsworth Kelly, Sol LeWitt, Roy Lichtenstein, Robert Morris, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Nam June Paik, Robert Rauschenberg, Larry Rivers, James Rosenquist,Richard Serra, Keith Sonnier, Richard Stankiewicz, Cy Twombly, Andy Warhol and Robert Whitman. The work by George Segal is not included.

Provenance: Jeanette Bonnier Collection, Stockholm. Jeanette Bonnier was one of the sponsors of ‘The New York Collection for Stockholm’.

Private collection, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 840 – 4 800

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Contemporary Art & Design

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