Bukowskis | Contemporary Art & Design No 615 | April 2019

Contemporary Art & Design Viewing April 4– 8. Auction April 9, 2019 Berzelii Park 1, Stockholm

For inquiries please contact Specialist Contemporary Art Louise Wrede +46 739 40 08 19 louise.wrede@bukowskis.com

Specialist Design & 20th Century Works of Art Eva Seeman +46 708 92 19 69 eva.seeman@bukowskis.com

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

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

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

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

Head Specialist Fine Art & Antiques Carl Barkman +46 708 92 19 71 carl.barkman@bukowskis.com

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

120. Richard Prince, ‘Untitled (joke)’.

Contemporary Art & Design Viewing April 4–8. Auction April 9, 2019 Berzelii Park 1, Stockholm

Tuesday April 9 From 1 pm Important Timepieces From 3 pm Design Contemporary Art

Number 1 � 95 Number 1 � 74 75 � 206

Photography

207 � 309

Prints

310 � 340

28. Ettore Sottsass, a ‘Park Lane’ coffee table for Memphis, Italy post 1983.

Fiberglass shell, top in black marble, height 37 cm, diameter of top 90 cm.

1. Eero Saarinen, a ‘Womb Chair’ with ottoman, probably produced on license by Nordiska Kompaniet, Sweden 1960's.

Base in black lacquered steel, seat and cushions in orange textile, height 88 cm, height of ottoman 35 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

2. Eero Saarinen, a ‘Womb Chair’ with ottoman, probably produced on license by Nordiska Kompaniet, Sweden 1960's.

Base in black lacquered steel, seat and cushions in orange textile, height 88 cm, height of ottoman 35 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

3. Florence Knoll, a walnut and white marble top sideboard, probably produced on license by Nordiska Kompaniet, Sweden 1960's.

Square chrome plated steel legs, walnut front, white marble top, cabinet with adjustable wooden shelf, one of the drawers with separate tray insert, lock to the side.

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

4. A Ceiling Lamp, 1960's.

5. A Ceiling Lamp, 1960's.

Black lacquered metal with chrome plated details, eight white glass shades, marked with label, height 93 cm, 66 x 66 cm.

Black lacquered metal with chrome plated details, eight white glass shades, marked with label, height 93 cm, 66 x 66 cm.

Provenance: This light is reportedly from an interior designed in the mid 1960’s.

Provenance: This light is reportedly from an interior designed in the mid 1960’s.

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

6. Olle Baertling, A Carpet, ‘Yoy’, hand tufted, Baertling/Asplund, ca 200 x 100 cm.

7. Olle Baertling, A Carpet, ‘Erey’, hand tufted, Baertling/Asplund, ca 198,5 x 100,5 cm.

A design in green, violet and black by Olle Baertling. The carpet is produced by Asplund in connection with the Baertling–stiftelsen (the Baertling–foundation) after the first painting in this series.

It is hand tufted in India around 1999. ‘Yoy’ is produced in 50 examples.

A label at the back.

A design in green, red and black by Olle Baertling. The carpet is produced by Asplund in connection with the Baertling–stiftelsen (the Baertling–foundation) after a painting. It is hand tufted in India around 1999. ‘Erey’ is produced in 50 examples. A label at the back.

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

8. Charles & Ray Eames, ‘Lounge Chair with ottoman’ for Vitra, 21st century.

American cherry, beige coloured leather, base in chrome plated metal, marked with label Vitra, height 90 cm, seat height 40 cm.

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

9. Ib Kofod Larsen, a sideboard, ‘FA 66’, for Faarup Møbelfabrik, Denmark 1960's.

Teak, interior and base of palisander, marked with label FAARUP MØBELFABRIK. Height 76 cm, width 230 cm, depth 49 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

10. Poul Kjaerholm, a Hammock chair, ‘Pk–24’ for Fritz Hansen, Denmark 1999.

Seat in rattan, base in brushed steel, neck cushion in leather, marked with label Fritz Hansen 1999.

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

11. Eric Ole Jørgensen, a high back sofa, Denmark 1950–1960's.

Solid oak, height 94 cm, width 200 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

12. Ib Madsen & Acton Schubell, ‘Pragh’, an easy chair and ottoman, Madsen & Schubell Co, Denmark 1940–50's.

Sheepskin, leather buttons, beech wood, height 102 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

13. Piero Fornasetti, a brass framed mirror, Milan, Italy.

Diameter 30 cm, height 40 cm.

Literature: Patrick Mauriés, ‘Fornasetti Designer of Dreams’, London 1991, compare the model illustrated p 134.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

14. Piero Fornasetti, an umbrella stand, Milan, Italy.

Enamelled metal, brass. Marked FORNASETTI MILANO MADE IN ITALY, height 57 cm.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

15. Piero Fornasetti, a set of six ‘Piscibus’ porcelain plates, Milan, Italy, post 1955.

Stamped maker’s mark: PISCIBUS FORNASETTI MILANO MADE IN ITALY 1955.

Diameter 25,5 cm.

Estimate: SEK 20 000 – 30 000 / EUR 1 910 – 2 865

16. Piero Fornasetti, an ice bucket, Milan, Italy.

Metal with printed decor and brass details, marked FORNASETTI MILANO MADE IN ITALY, height 23,5 cm.

Provenance: Torbjörn Lenskog Design Collection.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

17. Piero Fornasetti, a magazine rack, ‘Libri’, Milano, Italy.

Wood with printed decor, handle and feet in brass, marked with label, FORNASETTI MILANO MADE IN ITALY, height 39 cm.

Provenance: Torbjörn Lenskog Design Collection.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

18. Piero Fornasetti, paper basket, ‘Camei’, Milan, Italy.

Metal with printed decor and brass details, marked FORNASETTI MILANO MADE IN ITALY, height 28,5 cm.

Provenance: Torbjörn Lenskog Design Collection.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

19. Tobia Scarpa, a ‘Fantasma’ floor lamp for Flos, Italy 1960's.

Metal and resin, marked FLOS Made in Italy, height 183 cm.

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

20. Joe Colombo, an easy chair, model 4801 for Kartell, Italy 1960–1970's.

Green lacquered plywood, green leather, stamped 78, height 59 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

21. Joe Colombo, an easy chair, model 4801 for Kartell, Italy 1960–1970's.

Orange lacquered plywood, stamped 329, height 59 cm.

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

22. Gio Ponti, a ‘Tavolino’ table for Fontana Arte, Italy.

The base in black lacquered metal, two table tops in glass, height 61 cm, the largest top with diameter 61 cm.

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

23. Studio 65, ‘The Bocca lip sofa’, Gufram, Italy.

Reupholsterd in the original type of red fabric.

Length 212 cm, height ca 98 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

24. Gae Aulenti, a pair of ‘Pipistrello’ table lights, Martinelli Luce, Italy post 1965.

Model 620, black lacquered metal, white plastic shade, marked underneath and with paper label, adjustable height, diameter ca 54 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

25. Gianfranco Frattini, ‘780/783’, stacking tables, Cassina, Italy post 1966.

Black plastic, reversible tops, marked with label, height 30–40 cm.

Estimate: SEK 10 000 – 15 000 / EUR 955 – 1 432

26. Gaetano Sciolari, a ceiling lamp by Sciolari Lighting, Italy 1960–1970's.

Steel, 21 shades in chrome plated metal and mould blown glass, height 105 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

27. Gaetano Sciolari, a ceiling lamp by Sciolari Lighting, Italy 1960–1970's.

Steel, 21 shades in chrome plated metal and mould blown glass, height 110 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

28. Ettore Sottsass, a ‘Park Lane’ coffee table for Memphis, Italy post 1983.

Fiberglass shell, top in black marble, height 37 cm, diameter of top 90 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

29. Alessandro Mendini, a set of three post modern white glazed ‘Dealbata’ ceramic vases, Zanotta, Italy post 1987.

Signed Alessandro Mendini, two also label marked.

Height 18–30,5 cm.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

30. Alessandro Mendini, an ‘Agrilo’ console table for Zanotta, Italy post 1984.

Frame in black lacquered wood, hand decorated in blue and green, black glass top, metal feet, signed Alessandro Mendini, marked Zanotta, height 90 cm, width 78 cm.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

31. Mario Botta, a ‘Shogun’ table lamp for Artemide, Italy post 1986.

Base in lacquered metal, shade in perforated metal, marked Design Mario Botta Artemide Italy, height 63 cm.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

32. Willy Rizzo, a sideboard for Mario Sabbot, Italy 1970's.

Black lacquered wood, details i chrome plated metal, the interior with shelves and a bar, height 75,5 cm, width 176 cm, depth 47 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

33. Constantino Corsini & Giorgio Wiskemann, a ‘Spinnaker’ table lamp for Stilnovo, Italy.

Shade in chrome plated metal, the base in lacquered steel, height 64 cm.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

34. Franco Bettonica, a ‘Cubo bar’, for Cini & Nils, Italy 1970's.

Sides in dark stained wood, the top made with metal, two drawers with bar to the interior, height 71 cm, 64,5 cm x 64,5 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

35. Joe Colombo, a ‘Lunar Excursion Module’ easy chair by Bieffeplast, Italy 1970's.

White lacquered metal, white leather, marked with label Bieffeplast Padova Italy, height 83 cm.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

36. Peter Hamburger, a pair of wall sconces, Knoll, USA 1970's.

Acrylic and chrome plated metal, height 90 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

41. Ron Arad, a 2 R NOT chair, 1992, no 6 in an edition of 20. Patinated and polished steel, signed Ron Arad 6/20.

Height 76,5 cm, 61 x 61 cm

37. Jasper Morrison, a ‘Universal system’ sideboard for Cappellini, Italy 1990's.

Plywood and aluminium, height 71 cm, width 148 cm, depth 40 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

38. Borek Sipek, two ‘Jansky’ chairs for Driade, Italy post 1986.

Seat, feet, backrest and armrests in wood and staind wood, purple enameled back feet and details in brass, marked with label DRIADE, height 79 cm.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

39. Borek Sipek, an ‘Ota Otanek’ armchair for Vitra post 1988.

Sides in enamelled steel, backrest in copper, seat and legs in blackened wood, marked with label Vitra Ota Otanek, height 76 cm.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

40. Nipa Doshi & Jonathan Levien, a ‘My Beautiful Backside’ sofa for Moroso, 2008.

Upholstered in green textile, cushions and armrests in various colours, legs in walnut and brass, marked with label Moroso Made in Italy, height 99 cm, length 290 cm, seat height ca 40 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

41. Ron Arad, a ‘2 R Not’ chair, 1992, no 6 in an edition of 20.

Patinated and polished steel, signed Ron Arad 6/20. Height 76,5 cm, 61 x 61 cm.

Provenance: Acquired in connection with the exhibition: The Work of Ron Arad. Museum of Applied Arts, Helsinki, Finland in 1995.

Estimate: SEK 150 000 – 200 000 / EUR 14 326 – 19 102

42. Ron Arad, a ‘Victoria and Albert’ sofa for Moroso, Italy, 21st century.

Blue textile upholstery, metal base, marked with label, length ca 290 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

43. Björn Wiinblad, a dining table, Denmark 1974.

Top with ceramic tiles decorated and signed by Björn Wiinblad 1974, details in pine and steel, base in brushed steel, height 73 cm, diameter 167 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

44. Björn Wiinblad, A Wall hanging/A Carpet, ‘Tucano’, ‘Spring Lady’, hand knotted, ca 282 x 106 cm, signed Bjørn Wiinblad.

Made by Fortunato Silverio Lda, Oporto, Portugal. According to the owner this pattern is made in 1973 in three examples. Labels at the back. At the end of the 1960’s a collaboration was started between Axeco Svenska AB, Fortunato Silverio Lda and Bjørn Wiinblad. In around 1976 Axeco Svenska AB had an exhibition at NK (the leading department store in Stockholm) with wall hangings from this production. (d)

Estimate: SEK 15 000 – 18 000 / EUR 1 432 – 1 719

45. Harold Fust, a ‘Singoalla’ daybed, IKEA, Sweden 1960's.

Blue/grey velvet, beech legs, length ca 158 cm, depth ca 70 cm, height ca 81 cm.

Literature: Andreas Siesing, ‘Svenska möbler: folkhemsform i ull, jakaranda, furu och bok: 1949–1970’, Atlantis, Stockholm, 2015, p 131.

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

46. Henrik Thor–Larsen, an ‘Ovalia’ easy chair and ottoman, for Torlan AB, Sweden 1960–1970's.

Fiberglass reinforced plastic, blue velvet uppholstery, speakers, aluminium base. Easy chair, height ca 130 cm, width ca 95 cm, depth ca 95 cm, ottoman, height 41 cm, diameter 59 cm.

Literature: Andreas Siesing, ‘Svenska möbler: folkhemsform i ull, jakaranda, furu och bok: 1949–1970’, Atlantis, Stockholm, 2015, p. 303.

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

47. Gunilla Lagerhem–Ullberg, A Carpet, ‘Stubb 24’, hand tufted, circular, the diameter ca 266 cm, designed

by Gunilla Lagerhem–Ullberg, Kasthall.

A mix of wool and flax. Blue melange. A label at the back: G. 23440, M.O. Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

48. Hans Erik Johansson, attributed to, an easy chair, Sweden 1960–1970's.

Upholstered in red velvet, base in fiberglass reinforced plastic, height 101 cm.

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

49. Eero Aarnio, two candelabra, ‘Cactus’ and ‘Cloud’, Finland, one dated 2003.

Iron, the ‘Cactus’ stamped ‘Cactus design Eero Aarnio Proto 1 2003 Elmo Joensuu’, the white lacquered ‘Cloud’ unmarked. Height 30 and 11,5 cm, length ca 27 and 47,5 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

50. Mats Theselius, an ‘Aluminium Chair’

by Källemo, Sweden post 1990.

Matte polished aluminium, beech and fretted leather, label marked ALUMINIUMFÅTÖLJ No 86/200 MATS THESELIUS 1990 KÄLLEMO AB. Height 74 cm. (d)

Estimate: SEK 45 000 – 50 000 / EUR 4 297 – 4 775

51. Mats Theselius, a sofa for Woodstockholm, Sweden, 21st century.

Plywood and grey canvas, height 77 cm, length 200 cm.

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

52. John Kandell, a stool for Källemo, Sweden, produced in 5 examples.

Pine, stamped, height 50 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

53. Björn Dahlström, A Carpet, ‘Positive Rug’, hand tufted, ca 232 x 167 cm, Björn Dahlström for Kasthall, Sweden.

An ivory ground with a blue text: ‘I feel contact. I am standing firm.

Nobody can tip me over. I have my place. Every bit of me is in touch with mother earth.’ Leather labels at the back. The carpets the Positive and the Negative have gained international attention among others in the New York Times.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

Jonas Bohlin Post–Modernism became the prevalent style in the 1980’s, both Internationally as well as in Sweden. However, that interior designer Jonas Bohlin decided to execute parts of his thesis project at Konstfack Stockholm in the spring of 1981 the way he did, was probably less of an reaction against the standards put up by the Swedish authorities. It was probably rather a result of his earlier experiences with casting in concrete that gave him the idea that this was something interesting to include in his installation called ‘Labyrintformel’ (a formula for mazes).

The chair was later the same year shown at the Stockholm International Furniture and Design Fair where Sven Lundh of Källemo discovered it and much appreciated the innovative and conceptual about the chair. Bohlin and Källemo began a cooperation. The chair was named Concrete and it was executed in a limited edition of 100 chairs of concrete and iron tubes and in an unlimited edition executed in wood and iron tubes.

Sven Lundh’s idea of making furniture design in limited editions was a way of diminishing the limits between art and utilitarian works of art.

54. Jonas Bohlin, a ‘Concrete’ armchair, reportedly the original, the one exhibited at Konstfack, Stockholm 1981.

Concrete and iron. Height 89,5 cm, width 49 cm, depth 57 cm, seat height 45,5 cm.

Provenance: Janek Björklund (1949–1917), Qvartinge Antikhandel/FORM 1900 Exhibitions: Reportedly, this is the very first ‘Concrete’ chair that was first shown at Konstfack’s exhibition for graduates in 1981. The model obtained the ‘Utmärkt Svensk Form’ in 1983.

Literature: FORM, Svenska Slöjdföreningens tidskrift, 1983, nr 3/4, see the chair illustrated p 92. (d)

Estimate: SEK 200 000 – 300 000 / EUR 19 102 – 28 653

Drawing from the exhibition catalogue for "UNGA möbel FORMGIVARE" Stockholm Furniture Fair 1982.

55. Jonas Bohlin, an ‘Iron concrete’, chair for Källemo, post 1987.

Iron, partly lacquered, height 90 cm. (d)

Estimate: SEK 70 000 – 80 000 / EUR 6 685 – 7 640

56. Mats Theselius, an aluminium ‘Rörligt objekt’ room divider, Källemo Sweden post 1989.

Height 188 cm, width 4 x 48 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

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

Iron plate, beech wood, seat in elk leather, marked ÄLGSKINNSFÅTÖLJ MATS THESELIUS 1991 28/360 KÄLLEMO SWEDEN, height 78 cm, seat height 47 cm. (d)

Estimate: SEK 50 000 – 75 000 / EUR 4 775 – 7 163

58. Mats Theselius, a brass and black leather El Rey chair, edition Källemo Sweden post 1999.

Signed to the back: El Rey by Mats Theselius 1999 Nr: 212/360 copies for Källemo, Sweden, seat height 31–36 cm. (d)

Estimate: SEK 60 000 – 70 000 / EUR 5 730 – 6 685

59. Lars Englund, a ‘Skelder’ ceiling lamp for Källemo, Sweden, post 1995.

Shade in white acrylic, rubber details, marked with label Skelder, diameter 38 cm.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

60. Lars Englund, a ‘Skelder’ table, 1994.

Base in lacquered steel, top in pewter, signed Lars Englund 1994, height 45 cm. (d)

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

61. Mats Theselius, a pair of ‘Star’ easy chairs for Källemo, Sweden post 2009.

Base and details in chrome plated metal, red leather, height 81 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

62. Sigurdur Gustafsson, a ‘Rock n Roll’ stainless steel rocking chair, Källemo, Sweden, post 1999.

Marked 18/99. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

63. Sigurdur Gustafsson, a ‘Keflavik’ beech, steel and leather sofa, Källemo, Sweden post 2000.

Length 158 cm, seat height 48 cm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

64. Sigurdur Gustafsson, a ‘Keflavik’ beech, steel and leather sofa, Källemo, Sweden post 2000.

Length 158 cm, seat height 48 cm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

65. Gunilla Holmgren, A Carpet, ‘Vattenspegling’, knotted pile, ca 184 x 171 cm, signed AB MMF GH. (AB Märta Måås–Fjetterström, Gunilla Holmgren). Designed in 1999, woven by Birgit Svensson the same year. Designed for a traveling exhibition in connection with the atelier Märta Måås–Fjetterström AB 80 year jubilee. This carpet is only woven in one example. (Unique).

Exhibitions: A traveling exhibition in 1999: Kalmar konstmuseum, Bukowskis auktioner AB in Stockholm.

Literature: The sketch Stensman, Mailis: Ännu Mera Mattor från Märta Måås–Fjetterströms ateljé i Båstad 1919–1999, Uddevalla 1999, text and plate pages 24–25. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 910 – 2 865

66. Mats Theselius, a ‘Skepparpallen’ stool, Källemo, Sweden, post 2001.

Lacquered wood, details in brass, marked with label Nr 12/360, 2001 av Mats Theselius, Producent Källemo AB Värnamo. Height 60,5 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

67. Mats Theselius, a brass ‘El Dorado’ chair, Källemo Sweden post 2002.

Natural brown leather, birch, label marked EL DORADO by Mats Theselius 2002 No 68/360 KÄLLEMO AB SWEDEN, height 78 cm, width 56 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

68. Jens Fager, a pair of ‘Raw’ armchairs for Muuto, post 2008.

Wood and yellow lacquer, height 77 cm.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

69. Jens Fager, a pair of ‘Raw’ armchairs for Muuto post 2008.

Wood and yellow lacquer, height 77 cm.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

70. Folkform, a ‘Suburban Skyline’ table lamp, Studio Folkform Edition 2015.

Copper, marked with label FF Folkform Edition 2015, height 47 cm.

Exhibitions: The model was shown at the Stockholm Furniture Fair, ‘Twelve’ in 2014.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

71. Kristoffer Sundin, Simon Klenell & 1:2:3, a unique ceiling lamp, ‘ABC–Jubilee’, 2019.

Shade in multicoloured glass, stem in stainless steel, height 130 cm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

72. Finn Ahlgren, a unique ‘Trash sideboard’, Studio Finn Ahlgren, Sweden 2016.

Black painted wood, signed Finn Ahlgren 2016, height 70 cm, width 150 cm, depth 63 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

73. Mats Theselius, a ‘Sheriff’ swivel chair, for Källemo, Sweden post 2003.

Green leather and chromed steel with wheels, adjustable height.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

74. Mats Theselius, a ‘Theselius Rex’ easy chair, Källemo, Sweden post 1995.

Steel, metal plated frame, upholstered with brown leather.

Label marked No 155/200. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

75. Martin Wickström, ‘Let’s Face the Music’.

Signed Martin Wickström and dated 2002 on verso.

Panel 25 x 22 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

76. Marianne Lindberg De Geer, ‘Mamma ring hem/Mom call home’.

Diabase. Height 30, width 20 cm. Edition 1/1 (+1AP). Signed certificate included in lot.

Provenance: Andréhn–Schiptjenko, Stockholm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

77. Lars Lerin, Untitled.

Signed Lars Lerin and dated 2011. Watercolour 19.5 x 52 cm.

Provenance: Galleri Hassel, Söderköping. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

78. Cecilia Edefalk, ‘Ceci est une réproduction’.

Signed CE and dated 95 on verso. Canvas 35.2 x 50.2 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

79. Anders Widoff, ‘Gemenskap: 5’.

Signed Anders Widoff Berlin 1992 on verso. Canvas 90.5 x 68 cm.

Provenance: Christian Larsen, Stockholm.

Exhibitions: Christian Larsen, Stockholm Art Fair, ‘Anders Widoff’. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

80. Dan Wolgers, ‘Klockpall’.

Signed Dan Wolgers and dated 1991. Edition 8/10.

Clockwork mounted on steel legs. Heigth 48, diameter 38 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Literature: Dan Wolgers, ‘Dan Wolgers: 120 verk 1977–1996’, 1996, compare image p. 63.

Liljevalchs konsthall, ‘Dan Wolgers 1977–2001’, exhibition catalogue, 2001, illustrated. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

81. Linn Fernström, ‘Balansera ihop’.

Signed Linn Fernström and dated 2005 on verso.

Pastel and mixed media on paper 90 x 63 cm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

82. Anette Harboe Flensburg, Untitled.

Signed Anette H Flensburg and dated 2004 on verso.

Canvas 45 x 60 cm.

Provenance: Galleri Bo Swerdén, Växjö. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

83. Rita Lundqvist, ‘Hatt’.

Dated 2000 on verso. Panel 26 x 26 cm.

Provenance: Knäpper + Baumgarten, Stockholm. (d)

Estimate: SEK 70 000 – 90 000 / EUR 6 685 – 8 595

84. Lena Cronqvist, Untitled.

Signed L Cronqvist and dated 1996. Canvas 47 x 60.5 cm.

Provenance: Galleri Lindqvist, Arkelstorp. Acquired in 2005. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

85. Jens Fänge, ‘Reflection’.

Signed Jens Fänge and dated 2006 on verso.

Oil on canvas 112 x 102 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Exhibitions: Galleri Magnus Karlsson, Stockholm, ‘Maison du Peuple’, 31 August– 1 October 2006. (d)

Estimate: SEK 70 000 – 90 000 / EUR 6 685 – 8 595

86. Peter Frie, ‘Yamupainting no. 45’.

Signed P Frie on verso. Oil on canvas 52.5 x 40.5 cm.

Provenance: Bohman–Knäpper, Stockholm.

Exhibitions: Bohman–Knäpper, Stockholm, ‘Peter Frie – YAMU’, 7 September–8 October 2017.

Literature: Bohman–Knäpper, ‘YAMU’, 2017, illustrated on full page. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

87. Jim Thorell, ‘Marsian Trap’.

Executed in 2015. Acrylic and oil on canvas 150 x 100 cm.

Provenance: Loyal, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

88. Landon Metz, ‘Untitled’.

Signed L. M. 13 on verso. Dye on raw canvas 153 x 122 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

89. Juri Markkula, ‘Gold to Green’.

Signed Juri Markkula and dated 2015 on verso.

Interference pigment, polyurethan 100 x 100 cm. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 551 – 11 461

90. Joakim Ojanen, ‘OMG!’.

Signed Joakim Ojanen and dated 2015. Stoneware.

Height ca 60 cm.

Exhibitions: The Bries Space, Antwerp, ‘A Show About Nothing’, 2015. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

91. Austin Lee, Untitled.

Signed ALee on verso. Canvas 35 x 27 cm.

Provenance: Acquired from the artist.

Estimate: SEK 40 000 – 60 000 / EUR 3 820 – 5 730

92. Jockum Nordström, Untitled.

Signed Jockum and dated 1996 on verso. Panel 42 x 30 cm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

93. Catti Brandelius, ‘Without My Sorrow I Feel Hollow’.

Signed Catti Brandelius and dated 2009 on verso.

Panel 58 x 82 cm.

Provenance: Crystal Palace, Stockholm. (d)

Estimate: SEK 10 000 – 15 000 / EUR 955 – 1 432

94. Lena Cronqvist, ‘Flicka med baddjur’.

Signed LC and numbered 4/5. Foundry mark H. Bergman.

Executed in 1993–1994. Patinated bronze. Height 29 cm.

Literature: Galleri Lars Bohman (ed.), ‘Lena Cronqvist – Skulpturer’, 1995, reproduced fullpage on p. 47. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 820 – 5 730

95. Jan Håfström, Untitled.

Signed Jan Håfström and dated 2009. Acrylic on paper 82 x 74 cm.

Inc. frame 97 x 88 cm. (d)

Estimate: SEK 40 000 – 45 000 / EUR 3 820 – 4 297

96. Ann Edholm, ‘Inuk nr. 1’.

Signed Ann Edholm and dated –90 on verso.

Diptych, oil on paper, mounted to plexi 81 x 78.5 cm each.

Provenance: Galleri Sten Eriksson, Stockholm.

Exhibitions: Galleri Lång, Malmö, ‘Inuk’, 1991. Galleri Ahnlund, Umeå, 1990.Galleri Krüll, Stockholm. Galleri 29, Växjö.

Galleri Sten Eriksson, Stockholm, 1987. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

97. Lars Lerin, ‘Ishav II’.

Signed Lars Lerin and dated 89. Watercolour 74 x 105.5 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

98. Austin Lee, Untitled.

Signed ALee on verso. Canvas 35 x 27 cm.

Provenance: Acquired from the artist.

Estimate: SEK 40 000 – 60 000 / EUR 3 820 – 5 730

99. Anders Knutsson, Untitled.

Signed Anders Knutsson and dated 90. Oil and wax on handmade paper 86 x 79 cm. Mounted in plexi glass frame.

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

100. Patrik Andiné, ‘Frånvarande vid uppenbarelse’.

Signed Patrik Andiné and dated 2015 on verso.

Canvas 70 x 90.5 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Patrik Andiné, Look Inside’, 7 November–6 December 2015. (d)

Estimate: SEK 30 000 – 50 000 / EUR 2 865 – 4 775

101. Ulf Rollof, ‘Bår 2007’.

Mixed media, copper, fluorescent lamp, rubber, nylon, tin and porcelain.

Edition 9. 215 cm (without handles 168 cm) x 68 cm.

Exhibitions: Brändström & Stene, ‘Nu’, 2007, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

102. Astrid Sylwan, ‘Bewildered’.

Signed Astrid Sylwan and dated 2011 on verso.

Canvas 106 x 100 cm.

Provenance: Galleri Mårtenson & Persson, Båstad. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

103. Marie–Louise Ekman, ‘Mamma–Pappa–Barn’.

Signed M.L De Geer Bergenstråhle and dated 1976. Object.

Painted wood, fake fur, plastic figures and acrylic glass.

Height 12, width 12, depth 10 cm. (d)

Estimate: SEK 14 000 – 16 000 / EUR 1 337 – 1 528

104. Ann Edholm, ‘Colmar IV’.

Signed Ann Edholm and dated 2005 on verso.

Aluminum 73 x 62.6 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

108. Jan Håfström, The Visitors.

Signed Jan Håfström and dated 2002. Panel 120 x 120 cm. (d) Estimate: 150 000 – 1750 000 SEK / 14 326 – 16 714 EUR

Ola Billgren Billgren’s paintings are characterized by duality and ambiguity in both their expression and content, and have an unmistakably dream-like quality. His technique emphasizes this by its oscillation between the poles of the realistic and the abstract, each of these opposites defining Billgren as an artist.

His art has undergone several phases, or metamorphoses, made evident in his different stylistic periods. The early ultra-realistic painting later moves towards less representational art, culminating in the red period in which his paintings are covered with a bright red which catches the viewer’s eye. Billgren chooses to reduce the original picture and with the

addition of the red creates a painting that has found its ultimate form through processes of building up and reduction. The item in the painting ‘Kvinnofigur i landskap’ from 1994 shows the typical elements that define Billgren’s red period. At first glance it is a monochrome red canvas but after a while we see a greatly reduced but still recognizable image of a female form.

Right: 114. Ola Billgren, Kvinnofigur i landskap.

Signed Ola Billgren and dated –94 on verso. Oil on canvas 156 x 100 cm. (d) Estimate: 500 000 – 700 000 SEK / 47 755 – 66 857 EUR

105. Lukas Göthman, ‘Angry’.

Signed Lukas Göthman and dated 2004 on verso.

Canvas 140 x 160 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

106. Alfred Boman, Untitled.

Signed Alfred Boman and dated 2015 on verso.

Canvas 192 x 146 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

107. Lars Lerin, ‘Februaribrev från Reykjavik II’.

Signed Lars Lerin and dated 2002. Watercolour 38 x 114 cm. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 551 – 11 938

108. Jan Håfström, ‘The Visitors’.

Signed Jan Håfström and dated 2002. Panel 120 x 120 cm.

Provenance: Brändström & Stene, Stockholm.

Exhibitions: Dunkers Kulturhus, Helsingborg, ‘Nattens industri’, 13 December 2002–9 March 2003.

Literature: Bomulds Fabriken, red. Ingela Lind, ‘M/s Siddhart Enterprises’, 2016, illustrated p. 57. Liljevalchs konsthall, ed. Mårten Castenfors and others, ‘Book of the Dead’, 2009, illustrated p. 256. Evalena Lidman, Magnus Jensner, ‘Nattens industri, Jan Håfström’, 2002, illustrated fullpage p. 11. (d)

Estimate: SEK 150 000 – 175 000 / EUR

109. Magnus ‘NUG’ Gustafsson, Untitled.

Signed NUG and dated 2014 on verso.

Canvas 200.5 x 200.5 cm. (d)

Estimate: SEK 90 000 – 100 000 / EUR 8 595 – 9 551

110. Juri Markkula, ‘Green’.

Signed Juri Markkula and dated 2015 on verso.

Pigmented polyvinyl, polyurethan 50 x 50 cm. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 775 – 6 685

Ola Billgren Ola Billgren’s ‘Cityscapes’ paintings celebrate the ruins of ancient cities just as Lord Byron and the romantic poets did. Blending the permanent frame of architecture with the irrational structures of the mind, the images could be called post-modern romantic postcards. The painting in the auction, ‘Cityscape (30 år i Lund)’, is overlaid with two parallel fields, appearing as if two different memories – the upper one light and the lower one darker and more chaotic, a lightly sketched Lund Cathedral emerging from the canvas.

116. Ola Billgren, Cityscape (30 år i Lund).

Signed Ola Billgren and dated –89 on verso. Canvas 116 x 176 cm. (d) Estimate: 1 000 000 – 1 200 000 SEK / 95 510 – 114 613 EUR

111. Ernst Billgren, ‘Upptäckt’.

Signed EB. Executed in 2008. Oil on panel and glass 113 x 128 cm inc. frame.

Provenance: Galleri Erik Steen, Oslo Exhibitions: Galleri Erik Steen, Oslo, 2008. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 326 – 19 102

112. Marie–Louise Ekman, ‘Uccellino malato’.

Signed M.L Ekman and dated 2002. Edition 51/75.

Glass, gauze bandage and wood 14 x 23 x 16 cm. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 719 – 1 910

113. Peter Frie, Untitled.

Signed Peter Frie and dated 2002 on verso.

Canvas 50 x 70 cm (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

114. Ola Billgren, ‘Kvinnofigur i landskap’.

Signed Ola Billgren and dated –94 on verso.

Oil on canvas 156 x 100 cm. (d)

Estimate: SEK 500 000 – 700 000 / EUR 47 755 – 66 857

115. Lena Cronqvist, ‘Flicka med mammadocka i balja’.

Signed LC and numbered 3/5. Foundry mark HBergman.

Executed in 1993–1994. Bronze. Height 30, width 40, depth 27.5 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Literature: Galleri Lars Bohman (ed.), ‘Lena Cronqvist – Skulpturer’, 1995, reproduced on p. 69. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 551 – 11 938

116. Ola Billgren, ‘Cityscape (30 år i Lund)’.

Signed Ola Billgren and dated –89 on verso. Canvas 116 x 176 cm.

Exhibitions: Göteborgs konstmuseum, ‘Ola Billgren’, 20 Sept–16 Nov 1997.

Sundsvalls museum, Dec 97–Jan 98.

Literature: Douglas Feuk and Anne Ring Petersen, ‘Ola Billgren – Måleri Paintings’, 2000, illustrated fullpage p. 198.

Lars–Göran Oredsson, ‘Svensk Nutidskonst 3’, 1993, illustrated fullpage no. 9. (d)

Estimate: SEK 1 000 000 – 1 200 000 / EUR 95 510 – 114 613

120. Richard Prince, ‘Untitled (joke)’.

Signed R. Prince and dated 87 on verso.

Acrylic and silkscreen on canvas 61 x 45.5 cm. Edition of 5.

Estimate: 2 400 000 – 2 600 000 SEK / 229 226 – 248 328 EUR

Richard Prince

Richard Prince is considered to be one of the most well-respected artists of his generation. He was born in 1949 and made his breakthrough in the early 1980s alongside artists such as Cindy Sherman and Barbara Kruger.

Together their “appropriation art” helped to develop the American (and international) art scene. He is known around the world for his photographs and his paintings.

Richard Prince studied painting, and it was this medium that opened the door to his artistic career. However, it soon became clear that what interested Prince was the theme, not the medium or the technique.

The late 1960s saw the explosion of what we today call the ‘image society’, in which we still live. The sixties were the first golden age of mass media, and while some artists turned their backs on representational art and devoted themselves to metaphysical abstraction (Jackson Pollock, Helen Frankenthaler, Mark Rothko) others sought a more effective tool. One artist who was interested in the mass media image at an early stage was, of course, Andy Warhol. However, while he was focused on its aesthetics

and iconisation, Prince went in search of the human mechanisms behind these libidinous mass media and commercial images.

‘Untitled (joke)’, with a monochrome background and a joke written in a different color, is one in a series of silkscreen canvas paintings Prince produced. He began the ‘Joke series’ in 1986 and the combination of painting with burlesque humor is a clear signature of his. The jokes often involve the taboos and frustrations of the white American middle class.

Like all intelligent and perceptive art, Richard Prince’s work deciphers the state of things. If we pause for a moment to consider this, it is a mental state in which we constantly find ourselves: between a sense of lack on the one hand and on the other a strategy for attaining the goal/satisfaction – a new car, a new hair color, love, attraction, muscles, independence. We are not dealing with harmless forces here. In Richard Prince’s case there is something else that makes him more than just perceptive and intelligent.

The unexpected.

117. Yoko Ono, ‘Apple’.

Signed Y.O. and dated 88. Numbered 9/9. Bronze, height 8 cm.

Provenance: Lilla Galleriet, Mariefred.

Exhibitions: Lilla Galleriet, Mariefred, ‘Yoko Ono, The Bronze Age’, 1990.

Literature: Roy Slade, Yoko Ono, ‘Yoko Ono, The Bronze Age’, illustrated fullpage p. 5.

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

118. Withdrawn.

119. Christo & Jeanne–Claude, ‘Wrapped Book’.

Multiple, the signed book ‘Christo’ wrapped in canvas and with twine, 1973. Signed in pen and numbered 10/100. Published by Abrams Original Editions, New York. 31 x 30 cm. Another copy of the signed book is included in the LOT. Literature: Schellmann/Benecke 68.

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

120. Richard Prince, ‘Untitled (joke)’.

Signed R. Prince and dated 87 on verso.

Acrylic and silkscreen on canvas 61 x 45.5 cm. Edition of 5.

Provenance: Per Skarstedt Fine Art, New York.

Acquired from the above by the present owner.

Estimate: SEK 2 400 000 – 2 600 000 / EUR 229 226 – 248 328

121. Jesús Rafael Soto, ‘La Spirale’.

Acrylic glass and metal on painted panel. Height 50 cm, length 50 cm, width 25 cm.

Provenance: Acquired directly from the artist in connection to the exhibition ‘Rörelse i konsten (Movement in Art)’ at Moderna Museet, Stockholm in 1961.

Mrs. Elisabeth Skarne’s Collection, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

122. Olivier Debré, ‘Jaune Doré Coulée’.

Signed O. Debré and dated 78 on verso. Canvas 24 x 33 cm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 820 – 5 730

127. Lena Cronqvist, Flicka med katt i balja.

Signed LC and numbered EA from an edition of 6. Executed in 1993–94.

Bronze. Height 26, width 35, depth 27cm. (d) Estimate: 150 000 – 200 000 SEK / 14 326 – 19 102 EUR

128. Marie–Louise Ekman, Nattlandskap.

Signed M.L De Geer Bergenstråhle and dated 1981.

Gouache on silk 24 x 31.5 cm inc. frame. (d) Estimate: 40 000 – 50 000 SEK / 3 820 – 4 775

123. Donald Baechler, Tree.

Signed DB 90–91 on verso. Canvas 148 x 102 cm.

Estimate: 150 000 – 175 000 SEK / 14 326 – 16 714 EUR

Petra Cortright Petra Cortright (b. 1986, USA) is a post-internet artist who was welcomed into the galleries of the art world with open arms. Cortright became famous in 2007 when she published self-portrait YouTube videos filmed with her webcam. Today Cortright’s art also encompasses large-scale paintings, which she creates in Photoshop. ”It’s about bringing digital things into a physical space”, she says. The pictures in her paintings are reworked abstract and figurative images, with Pinterest as a great source of inspiration.

She especially uses “flowers, beautiful kitchens and beach scenes”, which are combined with her own digital paintings. The files are modified in hundreds of layers and she calls the original file the “mother file”. The finished painting is then printed on fine linen canvas, aluminium, paper or silk. The titles of the works reflect the file names and different file types, as well as ordinary Internet search terms.

The art site Artsy has called Cortright the Monet of the 21st century: an apt description of Cortright’s digital landscape paintings. Trained at the Parsons School of Design in New York and at the California College of

Arts in San Francisco, she has always had a close relationship with the Internet and computers. Cortright is an artist much sought-after for museum exhibitions and has so far exhibited at the Whitechapel Gallery in London and the New Museum of Contemporary Art in New York, among others. In 2013 she was selected to participate in the Frieze Art Fair’s film project Frieze Film. Cortright is also Stella McCartney’s muse and they have worked together on many occasions.

Cortright’s art can be found in the collections of Moderna Museet in Stockholm, the Péréz Museum in Miami and MOCA in Los Angeles, and many more besides.

126. Petra Cortright, NortoMotebook_Commander(he_hosting_Excelbeispiele–parties)).axd.

Executed 2016. Digital painting on Belgian linen 173 x 124 cm.

Estimate: 400 000 – 500 000 SEK / 38 204 – 47 755 EUR

123. Donald Baechler, ‘Tree’.

Signed DB 90–91 on verso. Canvas 148 x 102 cm.

Provenance: Galleri Lars Bohman, Stockholm. Sotheby’s, New York, February 1999, cat. no. 296.

Estimate: SEK 150 000 – 175 000 / EUR 14 326 – 16 714

124. Astrid Sylwan, ‘Sommarnatt’.

Signed Astrid Sylwan and dated 2016 on verso.

Acrylic on canvas 50 x 45.5 cm.

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

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

125. Jens Fänge, ‘Spilt Milk’.

Signed Jens Fänge and dated 2003 on verso. Oil on canvas 112 x 102 cm.

Provenance: Mia Sundberg Galleri, Stockholm.

Literature: Mikael Olsson, Christian Viveros–Fauné and Gertrud Sandqvist, ‘Jens Fänge Jens Fänge Jens Fänge Jens Fänge’, 2005, illustrated full page in colour, no. 43. (d)

Estimate: SEK 70 000 – 90 000 / EUR 6 685 – 8 595

126. Petra Cortright, ‘NortoMotebook_Commander(he_hosting_ Excelbeispiele–parties)).axd’.

Executed 2016. Digital painting on Belgian linen, 173 x 124 cm.

Provenance: Carl Kostyál, London. Private collection, Sweden.

Exhibitions: Carl Kostyál, London, ‘Petra Cortright, orange blossom princess fucking buttercup’, 5 October–12 November 2016.

Estimate: SEK 400 000 – 500 000 / EUR 38 204 – 47 755

127. Lena Cronqvist, ‘Flicka med katt i balja’.

Signed LC and numbered EA from an edition of 6.

Executed in 1993–1994. Bronze. Height 26, width 35, depth 27cm.

Provenance: Galleri Lars Bohman, Stockholm.

Literature: Galleri Lars Bohman (ed.), ‘Lena Cronqvist – Skulpturer’, 1995, reproduced on cover and on p. 69. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 326 – 19 102

128. Marie–Louise Ekman, ‘Nattlandskap’.

Signed M.L De Geer Bergenstråhle and dated 1981.

Gouache on silk 24 x 31.5 cm inc. frame.

Provenance: Galerie Aronowitsch, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

129. Senaka Senanyake, Untitled.

Signed Senaka Senanyake and dated 1976. Canvas 104 x 75 cm.

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

130. Robert Therrien, Untitled.

Signed R.T. and dated 1980 on verso.

Tempera on paper mounted to cardboard 53 x 55 cm.

Provenance: Anders Tornberg Gallery, Lund.

Estimate: SEK 40 000 – 60 000 / EUR 3 820 – 5 730

131. Jonathan Borofsky, ‘Palestine’.

Executed in 1988. Canvas 76.5 x 152 cm.

Provenance: Paula Cooper Gallery, New York.

Exhibitions: Paula Cooper Gallery, New York, ‘ Flags of the World’, 2 April–30 April 1988.

Estimate: SEK 40 000 – 60 000 / EUR 3 820 – 5 730

132. Christo & Jeanne–Claude, ‘The Umbrellas, Project for Japan and Western USA’.

Signed Christo and dated 1985. Crayon, gouache and pencil on paper 35.5 x 57 cm.

Estimate: SEK 80 000 – 100 000 / EUR 7 640 – 9 551

133. Jiri Kolár, ‘Perpetum mobile’.

Signed Jiri Kolár and dated 1966 on verso.

Collage and relief on panel 97 x 67.5 cm.

Exhibitions: Riksförbundet för bildande konst, ‘Tjeckoslovakisk nutidskonst’, Sweden 1967. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

134. Fernandez Arman, ‘Untitled’.

Signed Arman and numbered XXIX/XXX. Executed in 1994.

Height including base 69 cm. Edition of 100 + 20 AP + XXX. Sliced bronze violin and bow on incorporated base.

This work is recorded in the Arman Studio Archives New York under number: APA# 8401.94.075. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

136. Jim Dine, Desire (A Study).

Signed Jim Dine and dated London 1981. Mixed media on paper, triptych 100 x 211 cm.

Estimate: 800 000 – 1 000 000 SEK / 76 408 – 95 510 EUR

Jim Dine The painting ‘In the Harem, Abu Tor’ (1979) depicts one of Jim Dine’s most iconic subjects, the bathrobe. Bathrobes have been a central motif throughout Dine’s career as an artist and recur in many of his works. Dine started painting bathrobes in the 1960s. Although he admitted he never wore one himself, they took on the form of self-portrait early on in his career. In an interview in ARTnews in September 1977 Dine described his relationship to the magical bathrobe: “The robes have become much more mysterious than they used to be, and that’s because I understand them more. Obviously, there’s some hidden significance there. But what’s funny is that I don’t own a bathrobe. I don’t wear one. I don’t walk around in one.

I never see bathrobes around me, nor do I see people wearing them. I don’t have a bathrobe to paint from. What I use is what I’ve used from the very beginning—a newspaper ad which I clipped out of The New York Times back in 1963. The ad shows a robe with the man airbrushed out of it. Well, it somehow looked like me, and I thought I’d make that a symbol for me.

Actually, it all began when I wanted to paint a self-portrait . . . and just couldn’t. It’s important for me to say this, because what I really wanted to do was sit in front of a mirror and paint a portrait of myself. But at the time, I was in analysis and the pressures I felt prevented me from going through with it.”

Jim Dine has been represented by the Pace Gallery in New York since 1976, and this was also where he first exhibited a series of large paintings of bathrobes. The colorful painting ‘In the Harem, Abu Tor’ was completed in 1979, at a time when Dine’s career had truly taken off. In the previous year he had had a retrospective one-man show at the Museum of Modern Art (MoMA)

in New York. Several exhibitions were to follow and since then his work has been shown more than 300 times in institutions and galleries around the world.

Jim Dine’s art has been strongly associated with his range of subjects. The recurring motifs include the heart, tools, brushes and Pinocchio, the latter particularly familiar to Swedish audiences thanks to the monumental, much-discussed sculpture unveiled in Borås in 2008. Dine has worked on each series of motifs in a number of different techniques and made them his own. They never involve a simple repetition. Each work is a unique interpretation in its own right. The heart has been a central subject throughout Dine’s artistic career and is a recurring feature in his paintings, drawings, sculptures and graphic art. His use of this universal, uncomplicated symbol enables him to explore the relationship between texture, color and composition, allowing both himself and the viewer to apply their own emotions and ideas to the form. The heart becomes a blank page that can be filled with content and meaning.

The large triptych ‘Desire (A Study)’, mixed techniques on paper, 1981, brings together Dine’s two favorite subjects – the bathrobe and the heart. With its expressive, emotionally charged application of paint, the work is everything a Dine lover could ever wish for.

Right: 135. Jim Dine, In the Harem, Abu Tor. Signed Jim Dine and dated Jerusalen 1979 on verso. Canvas 183 x 110 cm.

Estimate: 3 000 000 – 3 500 000 SEK / 286 532 – 334 288 EUR

135. Jim Dine, ‘In the Harem, Abu Tor’.

Signed and dated Jerusalem 1979 on verso. Canvas 183 x 110 cm.

Provenance: Pace Gallery, New York. Shaindy Fenton, Fort Worth, Texas.

Sotheby’s New York, Contemporary Art, 27 February 1990, cat no. 206.

Galleri Kråkeslätt, Bromölla.

Exhibitions: Pace Gallery, New York, ‘Jim Dine: Paintings’, 11 January – 9 February 1980 Solomon R. Guggenheim, New York, ‘N.Y School: Four Decades’, 1982.

Literature: Pace Gallery, New York, ‘Jim Dine’, 1980, illustrated in the exhibition catalogue.

Estimate: SEK 3 000 000 – 3 500 000 / EUR 286 532 – 334 288

136. Jim Dine, ‘Desire (A Study)’.

Signed Jim Dine and dated 1981 London. Mixed media on paper, triptych 100 x 211 cm.

Provenance: Foundation Capa, Philadelphia. Christie’s, London, Contemporary Art, Part I, 3. December, 1987, cat no 1027. AH Grafik, Stockholm. Galleri Kråkeslätt, Bromölla.

Exhibitions: Waddington Galleries Ltd, London, ‘Jim Dine’, 29 June–24 July 1982.

Literature: Constance W. Glenn, ‘Jim Dine drawings’, 1985, cat no 133, illustrated on double page p. 165–166.

Estimate: SEK 800 000 – 1 000 000 / EUR 76 408 – 95 510

137. Larry Rivers, ‘Large Summer Pregnancy’.

Executed in 1977. Oil on canvas on sculpted foam core 142 x 157 cm.

Provenance: Thordén Wetterling Gallery, Gothenburg/Stockholm.

Exhibitions: Museo de Arte Contemporaneo de Caracas, Venezuela, 1980.

Estimate: SEK 100 000 – 150 000 / EUR 9 551 – 14 326

138. Jessica Warboys, ‘Folded Pigment 1’.

Executed in 2011. Canvas 140 x 140 cm.

Provenance: Gallery Campoli Presti, London.

Private collection, Sweden. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

139. Paul McCarthy, ‘Brancusi Tree (silver)’.

Signed and numbered 52/75. Executed in 2007. 190 x 95 cm (diameter).

Inflatable mylar fabric, integrated fan. Total edition of 75 + 20AP. Provenance: Hauser & Wirth, Zürich.

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

140. Ann Edholm, ‘Pantheon’.

Signed Ann Edholm and dated 2008 on verso. Canvas 262 x 232 cm.

Provenance: Galerie Nordenhake, Stockholm.

Literature: Tom Sandqvist, ‘Ann Edholm, Kropp och språk, rum och bild 2001–2011’, illustrated fullpage p. 265. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 938 – 14 326

Alexander Klingspor Alexander Klingspor writes about his painting ‘Hypnotica Terrible’: “This painting is primarily inspired by the Slipper Room, which I first encountered in New York in 2008. It was a one-story shoebox-looking building with a burlesque live show on the ground floor, and toilets in the basement with a leaking ceiling. Here I saw great creative striptease performances by performers like Miss Dirty Martini, Rose Wood, Rudi Maccaggi and many more. Having been in love with the French painters Toulouse-Lautrec and Edgar Degas’ depictions of Parisian nightlife, I immediately saw a likeness in the atmosphere of the contemporary New York burlesque scene. I understood that this was a gem worth depicting in my paintings, but before I managed to capture it, the Slipper Room closed for renovations. It would take them several years to reopen as the old building was torn down. In its place a three-story building appeared, and to everyone’s surprise so did the Slipper Room. It had managed to negotiate its way back into existence in the ever-changing city of New York. The new Slipper Room, with its original crew of talent and performers giving it all on a new gorgeous theatrical stage, became the inspiration for many of my paintings. Most of the figures in the painting ‘Hypnotica Terrible’ are performance artists in New York, the main character is Cassandra Rosebeetle, who performs regularly at the Slipper Room.

The second inspiration for this painting comes from another culture. In 2010–2012 I made several trips into the jungles of Northern Peru meeting the Shipibo tribes in the Amazon rain forest region. I became particularly interested in this culture’s ability to connect with the dream world and the subconscious mind. The visions that came to me whilst spending time with the elder shamans of a village up the Ucalali River collided with my inherited cultural values and experiences in an astonishing way, merging the jungle with the memories of my urban life in New York. The result became a series of mind-bending images that forced their way onto my canvases, displaying a dance of love, romance, horror, decay and death in a new fashion.”

‘Hypnotica Terrible’ depicts a journey where the primeval forces of life and death in nature invade the realm of mankind’s made-up, staged, escapist world of the theatre and urban pleasures, confronting all the nightclub guests depicted in the painting with the reminder of everything’s impermanence and decay.

141. Alexander Klingspor, Hypnotica Terrible.

Signed A. Klingspor. Executed 2017–2018. Oil on canvas 207 x 181 cm.

Inc. frame 233 x 207 cm. (d) Estimate: 200 000 – 300 000 SEK / 19 102 – 28 653 EUR

141. Alexander Klingspor, ‘Hypnotica Terrible’.

Signed A. Klingspor. Executed 2017–2018.

Oil on canvas 207 x 181 cm. Inc. frame 233 x 207 cm.

Provenance: Acquired from the artist.

Exhibitions: Waldemarsudde, Stockholm, ‘Alexander Klingspor – Resenär’, 3 March–27 May 2018.

Literature: Peter Trippi (ed.), ‘Alexander Klingspor, Resenär–Traveller’, 2018, illustrated in the exhibition catalogue no. 63. (d)

Estimate: SEK 200 000 – 300 000 / EUR 19 102 – 28 653

142. Jan Håfström, ‘Arkipelag’.

Signed Jan Håfström and dated 1992 on verso.

Canvas mounted to panel in aluminum frame 45.5 x 39 x 5.5 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

143. Jan Håfström, ‘Mr Walker’.

Signed Jan Håfström and dated 2014. Painted aluminum, 51 cm x 33 cm x 32 cm. Original box included in lot.

Provenance: Acquired from the artist. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

144. Jockum Nordström, ‘Djuren och vi’.

Signed Jockum and dated 2011. Collage, watercolour and pencil on paper 140 x 98 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Exhibitions: Galleri Magnus Karlsson, Stockholm, Jockum Nordström & Marcel Dzama ‘The Donkey Prefers Garbage to Gold’, 26 May–26 June 2011. (d)

Estimate: SEK 400 000 – 600 000 / EUR 38 204 – 57 306

145. Ida Ekblad, ‘Bidden Farewell’.

Lacquered metal, sandblasted welded steel 173 x 85 x 53 cm.

Provenance: Herald St, London. Private collection, London. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

146. Torsten Andersson, ‘Studie V för Carl Larssons bakgård’.

Canvas mounted on canvas 77.4 x 66.5 cm.

Provenance: Brändström & Stene, Stockholm.

Exhibitions: Brändström & Stene, Stockholm, ‘Torsten Andersson’, 24 November 2006–7 January 2007. (d)

Estimate: SEK 60 000 – 70 000 / EUR 5 730 – 6 685

Jockum Nordström Jockum Nordström’s collages have been seducing collectors and art critics around the world for a few decades now. Although his collages are demanding in purely technical terms and undoubtedly incredibly timeconsuming, Jockum Nordström is a prolific artist. His curiosity and creative delight are infectious; his detailed subjects combine musicians, animals and nudity. There is no snobbery or reserve in his art; instead it is a universe of drawings, paper sculptures, children’s books and illustrations for poetry collections.

It is true that there is a naivety and mischievousness in Jockum Nordström’s work but at the same time there is so much more. Fury, fear of death and weariness seep through the cracks of the carefree flirting, music and games.

At his disposal the artist has a certain training, which can almost be described as old-fashioned, and not particularly common in people born

after 1960. Jockum Nordström uses this training as his own unique palette.

The work auctioned, ‘Djuren och vi’, was shown at Galleri Magnus Karlsson in 2011. It was part of the exhibition ‘The Donkey Prefers Garbage to Gold’, the title referring to a quote from the Greek philosopher Heraclitus who lived at the end of the sixth century BC. The message behind the quote – that something that is considered important to one person may be utterly unimportant to another – is a key to Jockum’s form of expression.

He takes simple, understated materials and uses them to create detailed stories that delight the eye.

144. Jockum Nordström, Djuren och vi.

Signed Jockum and dated 2011. Collage, watercolour and pencil on paper 140 x 98 cm. (d) Estimate: 400 000 – 600 000 SEK / 38 204 – 57 306 EUR

147. Barbro Östlihn, ‘XIX Mur Bleu avec Bande’.

Signed Osthlin and dated 1983 on verso. Canvas 47.5 x 38.5 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

148. Sten Eklund, Untitled.

Signed SE 93. Gouache on paper 10.5 x 9 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

149. Ulrik Samuelson, Untitled.

Signed Ulrik Samuelson. Canvas 65 x 100.5 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

150. Barbro Östlihn, ‘20 Fulton Street’.

Signed Ostlihn and dated 1967. Canvas 167 x 176.5 cm.

Provenance: Artist’s family. Private collection, Sweden.

Exhibitions: Tibor de Nagy Gallery, New York, 1968. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 551 – 11 461

151. Elis Eriksson, ‘jag blir så svettig’.

Signed EE and dated –62 on verso. Painted wooden relief 39.5 x 73.5 cm. Mounted on panel in plexibox.

Provenance: Private collection, Sweden.

Literature: Teddy Hultberg, ‘elis ernst eriksson – 100 år av åtlydnader’, 2006, illustrated fullpage p. 171. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

152. Jan Håfström, ‘Två diken’.

Signed Jan Håfström on verso. Executed in 1973.

Mixed media on paper 111 x 66.5 cm.

Exhibitions: Moderna Museet, Stockholm, 12 November 1994–8 January 1995. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

Ola Billgren “You can’t get rid of the past that easily”. This was the start of a conversation between Lars Nittve and Douglas Feuk, which is quoted in the exhibition catalogue produced for Ola Billgren’s retrospective exhibition at Rooseum, Malmö and Moderna Museet, Stockholm in the summer and autumn of 1991.

Ola Billgren’s work was hugely conscious of the past, both the private and the collective, at the same time as it was eager to re-examine the image of history in order to create pictures of contemporary time.

In the 1960s when non-figurative painting still dominated, Ola Billgren, driven by his interest in history, began to produce realistic and representational art. In Billgren’s paintings from the 1960s and 1970s the inspiration came from contemporary, urban life, from literature and from films, and from the illustrated press. He attracted much attention and went on to represent Sweden in a number of exhibitions, including the 1967 and the 1971 Paris Biennales (celebrating young artists) as well as at the Venice Biennale in 1976. In many of his paintings from the 1960s the viewer

encounters what appears to be the artist’s intimate environment. He surrounds his figures with everyday items: clothes, furniture, newspapers, cigarette packets, beer bottles and china, thus revealing something of the place from which the paintings emerged. Everyday life plays a significant role in the work, ‘Spegling’, represented here. The person depicted in the painting stands in an apparently empty room, their reflection becoming visible in something as prosaic as the window blinds. The viewer discovers the details through the mirroring effect, adding an additional dimension that the viewer’s gaze is filtered through. Look more closely and you will see a half-open wardrobe door, a lone poster on the wall and something else in the corner. Is someone moving in? Moving out? Ola Billgren suspends the viewer in a state of uncertainty, leaving it entirely up to you to tell the story.

153. Ola Billgren, Spegling.

Signed Ola Billgren and dated –66. Canvas 27 x 42 cm. (d) Estimate: 800 000 – 1 000 000 SEK / 76 408 – 95 510 EUR

153. Ola Billgren, ‘Spegling’.

Signed Ola Billgren and dated –66. Canvas 27 x 42 cm.

Exhibitions: Moderna Museet, Stockholm, ‘En retrospektiv – A Retrospective’, 26 October–8 December 1991.

Rooseum, Malmö, ‘En retrospektiv – A Retrospective’, 14 May–4 August 1991.

Västerås Konstmuseum.

Literature: Galleri 69, ‘Ola Billgren, målningar 1963–1973’, 1973, illustrated fullpage no 34.

Rooseum, Malmö and Moderna Museet, Stockholm, ed. Lars Nittve and others, ‘Album, Ola Billgren, en retrospektiv – a painting retrospective, Vol. 1’, 1991, illustrated fullpage p. 32.(…) (d)

Estimate: SEK 800 000 – 1 000 000 / EUR 76 408 – 95 510

154. Bård Breivik, Untitled.

Brown– and silver patina iron. Length 120 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

155. Torsten Andersson, Untitled.

Signed Torsten. Canvas 53 x 51 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

156. Bjarne Melgaard, ‘Untitled’.

Signed Bjarne Melgaard and dated 2015 on verso.

Acrylic on canvas 200.5 x 200 cm.

Provenance: Galerie Forsblom, Helsinki.

Exhibitions: Galerie Forsblom, Helsinki, ‘Puppy Orgy Acid Party’, 10 March–3 April, 2015. (d)

Estimate: SEK 250 000 – 300 000 / EUR 23 877 – 28 653

157. Mats Gustafson, ‘Rock (16)’.

Signed Mats Gustafson and dated Sag Harbor, NY, 2003 on verso. Watercolour 50.6 x 66 cm.

Provenance: Galleri Charlotte Lund, Stockholm. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

158. Max Mikael Book, ‘Bäck och Bubbla Blue’.

Signed Max Book and dated 2013 on verso. Canvas 138.5 x 220 cm.

Provenance: Galleri Leger, Malmö. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 551 – 11 938

163. Niki De Saint Phalle, La Main Gauche.

Painted polyester. Height 7,5 cm, length 47 cm, width 27 cm. Unique. (d) Estimate: 125 000 – 150 000 SEK / 938 – 14 326 EUR

Niki de Saint Phalle “Niki de Saint Phalle loves myths. She invents them without preoccupying herself with art history or popular traditions, without having studied the civilizations that invented the symbols to try and understand their enigmas.

She doesn’t depend on knowledge, but relies on her independence. All her life, Niki de Saint Phalle has been vigilant to preserve what is her strength: her freedom.” Pontus Hultén’s words in the exhibition catalogue Niki de Saint Phalle.

In Saint Phalle’s exhibition catalogue, Pontus Hultén writes: “The originality of her work comes directly from her personality. This simplicity, this lack of sophistication, which is implied by her work, is in reality a true sophistication, not at all superficial and conventional, but profoundly original.”

In this auction we are privileged to offer the unique sculpture ‘La Main Gauche’ from the private collection of Pontus Hultén and Anna-Lena Wibom. Hultén and Wibom were Stockholm’s ‘power couple’ in the sixties.

Hultén was head of the newly opened Moderna Museet and Wibom responsible for the highly successful Moderna Museet Film Studio. They were both personal friends of Niki de Saint Phalle, who they came to know via Jean Tinguely.

Niki de Saint Phalle’s hand is a recurrent object in her artworks. It has been created in multiple versions and colors; Saint Phalle has used it as a wallpaper design, she has made ceramic hands, and the hand is often included in her lithographs and drawings. The most popular version is the green hand with red nails.

What does Niki de Saint Phalle’s hand represent? The impact of the hand, and the body in general, is significant in Saint Phalle’s art. She works with her bare hands when sculpting her generous figures. The hand is the part of the body that creates, caresses and feels. In one of her lithographs she draws the hand and writes next to it “But I like the way you touch me”.

A tapestry by Niki de Saint Phalle. Note the hand, which is a recurring element in her art.

Karin Broos Karin Broos’ paintings show photorealistic scenes taken from daily life and her own surroundings. Her motifs center on the home, the studio and nature.

Most of her works depict women’s lives at different ages. The models in her paintings are usually taken from her close family, such as her daughters and grandchildren. The seemingly everyday situations she depicts are often ambiguous and charged with an atmosphere of contemplation.

Using the photograph as her template, Broos investigates the differences and shifts between painting and photography. The people in the paintings often have their backs turned to the viewer or are looking away. The apparently everyday scene on display in the work ‘Nostalgia I’, its net curtains adding a dramatic interplay of light and shadow, gives us a sense of underlying sadness.

Karin Broos is currently touring her large solo show, which became hugely popular when it was first exhibited at Prins Eugens Waldemarsudde in

October 2015 – February 2016. Between 2017–2018 it toured several US cities. And in 2019–2020, with the addition of new works, the exhibition will be on display in various art institutions in Sweden, including Linköpings konsthall and Kristinehamns konstmuseum.

It was at Kristinehamns konstmuseum that Karin Broos had her breakthrough show in 2008, which was followed by exhibitions at Borås Konstmuseum, the Christian Larsen Gallery and Sven Harrys konstmuseum in Stockholm. Broos’ work is represented at Moderna Museet in Stockholm, Public Art Agency Sweden, Ystads konstmuseum and Värmlands Museum amongst others.

165. Karin Broos, Nostalgia I. Signed Karin Broos and dated 2013 on verso. Canvas 115.5 x 93.5 cm. (d) Estimate: 300 000 – 400 000 SEK / 28 653 – 38 204 EUR

159. Dick Bengtsson, ‘Oktoberceremonin IV’.

Signed Dick Bengtsson and dated 63 on verso.

Oil on panel 116 x 89 cm.

Provenance: Galleri Observatorium, Stockholm, 14/11 1963.

Exhibitions: Galleri Observatorium, Stockholm, 1963.

Moderna Museet, Stockholm, ‘Dick Bengtsson’, 22 January–30 April 2006.

Literature: Mårten Castenfors (ed.), ‘Dick Bengtsson’, SAK, 2005, illustrated on p. 122. (d)

Estimate: SEK 200 000 – 250 000 / EUR 19 102 – 23 877

160. Carl Fredrik Reuterswärd, ‘Spel’.

Signed Carl Fredrik Reuterswärd and dated 1963–1968 on verso. Mixed media on panel 72 x 50 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

161. Jan Håfström, ‘Skogsaltare I och II’.

Signed Jan H and executed in 1970. Painted plywood, artifical grass, plastic trees. Diptych. Per part: 36.7 x 25 x 9 cm.

Original box and instructions included in lot.

Literature: Bomulds Fabriken, red. Ingela Lind, ‘M/s Siddhart Enterprises’, 2016, another example illustrated fullpage p. 101. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

162. Sten Eklund, ‘Transporthall’.

Signed SE 69. Oil on glass 50 x 50 cm.

Provenance: Galerie Aronowitsch, Stockholm.

Exhibitions: Galerie Aronowitsch, Stockholm, ‘Sten Eklund’, December 1992. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

163. Niki de Saint Phalle, ‘La Main Gauche’.

Painted polyester. Height 7,5 cm, length 47 cm, width 27 cm. Unique.

Provenance: The Pontus Hultén and Anna–Lena Wibom collection. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 938 – 14 326

164. Lena Cronqvist, ‘Flicka i orange med glaskolv’.

Signed Lena Cronqvist and dated 2000–2001 on verso.

Canvas 110.5 x 149.5 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Lena Cronqvist’, 2002.

Liljevalchs, Stockholm, ‘Lena Cronqvist’, 12 October 2013–6 January 2014. (d)

Estimate: SEK 200 000 – 250 000 / EUR 19 102 – 23 877

Ola Billgren The present catalogue item ‘Skymningstimme’ is a unique work in Billgren’s oeuvre. The size of the canvas combined with the complexity of the subject means it absorbs the viewer. Part of the ‘Cityscapes’ series, it functions a collage of different places, of sky, earth and air. The saturated atmosphere can only be described as chaos, something that the size of the canvas reinforces. In a piece of writing about ‘Skymningstimme’ Bo Nilsson

describes the unique environments Billgren creates in his work: “…in another painting Billgren has called this intermediate state between city and countryside his ‘terrain vague’, best translated as ‘uncertain terrain’.

Terrain vague is not a physical place but more a mental state, characterized by a magnificence that may be defined as sublime. It is a complex feeling that holds considerable beauty but also a sense of threat or danger, an

added dimension of civilization’s downfall, in German usually referred to as ‘Götterdämmerung’, the twilight of the Gods. The different pictorial levels make us contemplate different elements of our civilization and if we interpret Billgren correctly, things do not seem quite right in our world. Is it up to the viewer to pause and linger on these the different stages of collapse and in doing so become aware of what is going on in the world around us?”

169. Ola Billgren, Skymningstimme.

Signed O. B and signed by stamp through Anita Nilsson Billgren on verso. Canvas 165 x 274 cm. (d) Estimate: 1 500 000 – 2 000 000 SEK / 143 266 – 191 021 EUR

165. Karin Broos, ‘Nostalgia I’.

Signed Karin Broos and dated 2013 on verso.

Canvas 115.5 x 93.5 cm.

Provenance: Christian Larsen, Stockholm.

Exhibitions: Christian Larsen, Market Art Fair Stockholm, ‘Karin Broos’, 2014.

Literature: Prins Eugens Waldemarsudde, ed. Karin Sidén and others, ‘Still Life’, 2015, illustrated fullpage cat. no. 52. (d)

Estimate: SEK 300 000 – 400 000 / EUR 28 653 – 38 204

166. Jockum Nordström, ‘Trummor (Batteri)’.

Diptych. Each signed Jockum and dated –89. Watercolour, pencil and collage on paper, 95.5 x 63 cm. I: 29.5 x 42 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

167. Nathalie Djurberg, ‘Untitled, version 5’.

Signed Nathalie Djurberg and dated 2010. Edition 5/10.

Mixed media and velvet ca 300 x 120 x 10 cm Provenance: Kestner Edition, Hannover. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

168. Matthias van Arkel, ‘Sliced Space’.

Signed MvA on two silicone parts. Executed in 2004. Unique. Wall sculpture/ object in silicone rubber and stainless steel. Length 168, height 39.5, width 17 cm.

Exhibitions: Magnus Åklundh, Malmö, ‘Matthias van Arkel: Silicone Variations’, 2004.

Literature: Matthias van Arkel (ed.), ‘Matthias van Arkel’, 2013, illustrated p. 129 and double page p. 130–131. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

169. Ola Billgren, ‘Skymningstimme’.

Signed O. B and signed by stamp through Anita Nilsson Billgren on verso. Canvas 165 x 274 cm.

Provenance: Galleri Engström, Stockholm.

Exhibitions: Galleri Engström, Stockholm, ‘Ola Billgren, nya målningar och collage’, 1988.

Import VAT will be charged on the hammer price on this lot (d)

Estimate: SEK 1 500 000 – 2 000 000 / EUR 143 266 – 191 021

170. Ernst Billgren, ‘Möte med natur’.

Signed with monogram. Executed in 2008. Mixed media on panel 138 x 122 cm including original frame.

Provenance: Bukowskis, Contemporary & Design 558, 17 November 2010.

Exhibitions: Galleri Bolin, Östersund, ‘Fem i Färg’, 23 December 2009–3 January 2010. (d)

Estimate: SEK 175 000 – 200 000 / EUR 16 714 – 19 102

Oscar Murillo Oscar Murillo (b. 1986, Colombia) is a painter who incorporates different media in the production of his artistic work, from texts or recycled materials to fragments of any element circulating in his studio. He trained in England, at the University of Westminster and the Royal Academy of Fine Arts. His work tends towards a large format, with a chaotic and spontaneous appearance. It has a sublime but cryptic narrative and all the elements of his work lead us to a single goal: the vindication of both his Colombian heritage and of suffering under the processes of fascist injustice. His work is present in major collections, including another very similar piece, with the same title, which belongs to the controversial art collector Charles Saatchi.

There is an inherent sense of mutation, particularly in the materials used, in Murillo’s work included in this auction. He incorporates various ideas and materials, such as newspapers and magazines and any detritus that circulates through his studio. The recycling of materials are the gestures that Murillo uses to refer to his

Colombian past, to a transnational identity and to the decolonizing processes at work. Together they emit a vehement discourse against globalization, the market and capitalism. He includes words in Spanish, generally referring to food, as a small claiming element of its origins.

Murillo’s art can be compared to the expressive outbursts of Jackson Pollock, and even to the great large-scale work of Mark Rothko, who brought enormous expressiveness through his neutral and monochrome tones. However, due to his origins and struggles, Murillo is often referred to as an heir to Basquiat. “I see in my work a romantic energy, balanced by a calculation in the composition. My works are contaminated in my spaces, in my workshop. Over time they judge themselves and find their own aesthetic. That is my process.”

174. Oscar Murillo, ‘Untitled’.

Signed ‘o woz ere 11’. Executed in 2011. Mixed media on canvas, mounted on canvas 187.5 x 204.5 cm.

Estimate: 1 000 000 – 1 200 000 SEK / 95 510 – 114 613 EUR

189. Torsten Andersson, Skulptur. (detail).

Signed Torsten Andersson on verso. Canvas 147 x 127 cm. (d) Estimate: 125 000 – 150 000 SEK / 11 938 – 14 326 EUR

171. Thorbjörn Sörensen, ‘Untitled’.

Signed Thorbjörn Sörensen and dated 05 on verso.

Canvas 155 x 190 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

172. Marie–Louise Ekman, Untitled.

Signed M.L De Geer Bergenstråhle and dated 1976. Object. Painted wood, fake fur, plastic figure, doll and glass. Height 27, width 15, depth 13 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

173. Gina Beavers, ‘Portable Palette’.

Signed Gina Beavers and dated 2017 on verso.

Acrylic on linen mounted on panel 92 x 61 x 8 cm.

Provenance: Carl Kostyál, London.

Exhibitions: Carl Kostyál, London, ‘Gina Beavers, Tennis Ball Yellow’, 4 November–1 December 2017. (d)

Estimate: SEK 120 000 – 140 000 / EUR 11 461 – 13 371

174. Oscar Murillo, ‘Untitled’.

Signed ’o woz ere 11’. Executed in 2011. Mixed media on canvas, mounted on canvas 187.5 x 204.5 cm Provenance: Carlos Ishikawa, London. Private Collection, Italy.

Exhibitions: Saatchi Gallery, London, ‘Pangaea: New Art from Africa and Latin America’, 2 April–2 November 2014.

Estimate: SEK 1 000 000 – 1 200 000 / EUR 95 510 – 114 613

175. Veronica Brovall, ‘Untitled (bucket white)’.

Executed in 2011. Glazed ceramic. Height 43 cm, width 36 cm.

Provenance: Acquired from the artist. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

176. Faile (Patrick McNeil & Patrick Miller), ‘Pleasures Archive’.

Signed Faile and dated 1987. Mixed media on paper 96.5 x 63.5 cm.

Estimate: SEK 60 000 / EUR 5 730

177. Roj Friberg, ‘Balkongen (Avenyn, Göteborg)’.

Signed Rf and dated 06. Pencil, mixed media 85 x 108.5 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

178. Elis Eriksson, ‘Ohöljd visar jag meg inte’.

Signed EEE through Anita Jobsmyr on verso. Canvas 208 x 208 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Exhibitions: Galleri Lars Bohman, Stockholm, ‘Dåm röda å dåm inte’, 2002.

Norrköpings konstmuseum, 2006.

Värmlands museum, Karlstad, 2006.

Millesgården, Stockholm, ‘massa ande ting’, 31 May–20 August 2006.

Malmö konstmuseum, 2006. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 938 – 14 326

179. Gerhard Nordström, Untitled.

Signed G. Nordström. Panel 38.5 x 55.5 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

180. Martin Wickström, ‘Anita och havet’.

Signed Martin Wickström and dated 2008 on verso.

Canvas 90 x 200 cm.

Exhibitions: Örebro Konsthall, ‘Martin Wickström, Anita och havet’, 31 May–19 August 2008.

Eskilstuna Konstmuseum, ‘Martin Wickström, Anita och havet’, August–October 2008.

Norrtälje Konsthall, ‘Martin Wickström, Anita och havet’, November–December 2008.

Skövde Konst(…)

Literature: Angelika Knäpper Gallery, Galerie Leger, Galleri Aveny, ‘99_09 Martin Wickström’, 2009, illustrated fullpage p. 470–471. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 775 – 6 685

181. Jan Håfström, ‘The Childhood’.

Signed Jan Håfström and dated 2005.

Mixed media on panel 65 x 107 cm.

Provenance: Brändström & Stene, Stockholm.

Exhibitions: Liljevalchs konsthall, Stockholm, ‘Mörkrets Hjärta / Heart of Darkness’, 18 April–21 May 2009.

Literature: Bomulds Fabriken, red. Ingela Lind, ‘M/s Siddhart Enterprises’, 2016, illustrated p. 93.

Liljevalchs konsthall, ed. Mårten Castenfors and others, ‘Book of the Dead’, 2009, illustrated p. 80. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 551 – 14 326

182. Lars Englund, ‘Klot’.

Signed L. Englund och dated –78. Edition 2/10.

Sintered steel, diameter 16.5 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

183. Roj Friberg, ‘I djungeln’.

Signed Rf and dated –87. Mixed media on paper panel 102 x 123 cm.

Exhibitions: Liljevalchs Konsthall, Stockholm, ‘Drömrummet’, 6 June–4 September 2011. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

184. Ernst Billgren, Untitled.

Mosaic sculpture. Signed Ernst Billgren and dated –04 verso.

Height 38 cm, length 38 cm, depth 32 cm. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 938 – 14 326

185. Gerhard Nordström, ‘Motif from Claude Monet’s garden in Giverny’.

Signed G. Nordström. Panel 82 x 122 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 640 – 9 551

186. Lukas Göthman.

Signed L Göthman and dated 2013 on verso. Canvas 118 x 191 cm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

187. Ylva Ogland, ‘Min pappa och jag (med gobeläng)’.

Signed Ylva Ogland and dated 2007 on verso. Oil on canvas 69 x 89 cm.

Provenance: Christian Larsen, Stockholm.

Literature: Bonniers Konsthall och Silvana Editoriale, ed. Sara Arrhenius and others, ‘Ylva Ogland, She, an introduction’, Stockholm, 2015, pictured fullpage p. 234. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

188. Anders Sletvold Moe, Untitled.

Signed Anders SM on verso. Panel 120 x 132 cm.

Provenance: Elastic Gallery, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

189. Torsten Andersson, ‘Skulptur’.

Signed Torsten Andersson on verso. Canvas 147 x 127 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Exhibitions: ‘Samlat Ljus’, Riksutställningar and the Moderna Museum International Program Stockholm, tour 1998–2000 RMIT Gallery, Melbourne, Australia 1998 Drill Hall Gallery, Canberra, Australia 1998 Ivan Dougherty Gallery, Sydney, Australia 1998 Lawrence Wilson Art Gallery, Perth, Australia 1998(…) (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 938 – 14 326

190. Till Gerhard, ‘Howl’.

Signed TG and dated 2012 on verso. Canvas 50 x 40 cm.

Provenance: Galerie Bel’Art, Stockholm.

Private collection, Stockholm.

Exhibitions: Galerie Bel’Art, Stockholm, ‘Eulen und Engeln’, 2012.

Literature: Galerie Bel’Art, Stockholm, ‘Eulen und Engeln’, 2012, illustrated in the exhibition catalogue. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 719 – 1 910

191. Fernandez Arman, ‘Untitled’.

Signed Arman and numbered 60/150. Heigth 9 cm, length 59 cm. Executed in 1972. Vertically sliced cast bronze violin presented in two separate halves.

This work is recorded in the Arman Studio Archives New York under number: APA# 8401.72.028 (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

192. Ola Billgren, ‘Dinu Lipatti’.

Signed Ola Billgren and dated –79 on verso. Canvas 133 x 131 cm.

Provenance: Acquired from the artist.

Exhibitions: Borås Museum Kulturhuset, 1979.

Kalmar Konstmuseum. (d)

Estimate: SEK 300 000 – 350 000 / EUR 28 653 – 33 428

193. Olav Christopher Jenssen, ‘Luftlinjer’.

Signed Olav Christopher Jenssen Berlin 1990–1991.

Oil and carving on wood 81 x 94 cm.

Provenance: GallerieT, Oslo. Galleri Riis, Oslo. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

194. Linn Fernström, ‘De roppande’.

Signed Linn Fernström and dated 2005 on verso.

Pastel and mixed media on paper 76 x 56 cm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

195. Gardar Eide Einarsson, ‘The First Decadent: JK Huysmans’.

Signed and dated 2011 on verso. Canvas 213 x 183.

Provenance: Carl Kostyál, London. Private collection, Sweden.

Exhibitions: Carl Kostyál, London, ‘A Science of Friendship, Matias Faldbakken, Gardar Eide Einarsson, Sebastian Helling’, 11–31 October 2011. (d)

Estimate: SEK 140 000 – 160 000 / EUR 13 371 – 15 281

196. Fredrik Söderberg, ‘Zos–Kia I’.

Signed Fredrik Söderberg and dated 2007. Watercolour 76 x 57 cm.

Provenance: Milliken Gallery, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 820 – 5 730

197. Klara Kristalova, ‘Rådjuret’.

Signed K. Kristalova and dated –10. Watercolour 60 x 45 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Exhibitions: Galleri Magnus Karlsson, Stockholm, Klara Kristalova; ‘Sleepwalkers’, 5 May–12 June 2010. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

198. Patrik Andiné, ‘Kall inuti’.

Signed Patrik Andiné and dated 2010 on verso. Canvas 70 x 90 cm.

Provenance: Angelika Knäpper Gallery, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

199. JPW 3, Untitled.

Signed JPW3 and dated 2015 on verso. Canvas 51.3 x 41 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

200. Ernst Billgren, ‘Skäggdopping – Podiceps Cristatus’.

Signed with monogram EB. Signed Ernst Billgren and dated –86 on verso.

Mosaic and veneer on panel 69 x 133 cm. (d)

Estimate: SEK 150 000 – 175 000 / EUR 14 326 – 16 714

201. Torsten Andersson, ‘Källan’.

Signed Torsten. Executed in 1981. Canvas 62 x 62 cm.

Provenance: Björn Springfeldt Family Collection, Sweden. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

202. Li Jisen, ‘Mental Battle’.

Signed Li Jisen and dated 2007 on verso. Canvas 150 x 180 cm.

Provenance: Acquired from the artist.

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

203. Richard Smith, ‘Red Sky’.

The 3 parts signed R. Smith and dated 79. Mixed media on canvas 200 x 284 cm.

Estimate: SEK 50 000 – 70 000 / EUR 4 775 – 6 685

204. Ernst Billgren, ‘Fågelporträtt’.

Signed with monogram EB. Executed in 1987. Mixed media and mosaic on panel 57 cm diameter.

Provenance: Private collection, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

205. Helmut Middendorf, Untitled.

Signed Middendorf and dated 83. Acrylic on paper 138 x 108.5 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

206. Peter Köhler, ‘Happy Trails’.

Signed P. Köhler and dated 2015 on verso.

Canvas 40 x 120 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Exhibitions: Galleri Magnus Karlsson, Stockholm, ‘To an Unknown Descendant’, 8 October–8 November 2015. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

208. Christer Strömholm, Pigalle, Paris , 1954.

Signed CHR and with fingerprint on verso. Printed by Örjan Kristensen.

Gelatin silver print, image 29.5 x 22 cm. (d) Estimate: 15 000 – 20 000 SEK / 1 432 – 1 910 EUR

Florian Maier–Aichen Florian Maier-Aichen’s photographic images of landscapes convey a surrealist and painterly impression. The images are often taken from above.

Swedish audiences will recognize certain elements of Ola Billgren’s cityscapes, in which the viewers also find themselves high above the landscape or the buildings of the city, flying above the treetops. Using sophisticated photographic techniques, he is not afraid of experimenting, merging digital technology with traditional photographic craftsmanship. Maier-Aichen manipulates his images after they are taken, often adding red and blue.

This gives the subject a futuristic tone – a kind of landscape photography for the twenty-first century. Florian Maier-Aichen was born in Germany in 1973 and lives and works in Cologne and in Los Angeles. He has an

international training, including time spent at Högskolan för Fotografi och Film at the Valand Academy in Gothenburg.

Maier-Aichen’s work is represented in several collections, including the Denver Art Museum, the Whitney Museum of American Art in New York, the Los Angeles Museum of Contemporary Art and the Saatchi Gallery in London.

237. Florian Maier–Aichen, Untitled Valley, 2003.

126 x 158 cm. Edition 6/6. (d) Estimate: 250 000 – 300 000 SEK / 23 877 – 28 653 EUR

207. Anders Petersen, ‘Lilly and Rose, Café Lehmitz, Hamburg 1970’.

Signed Anders Petersen and dated 1972 on verso. Also with copyright stamp and dedication on verso. Gelatin silver print, image 23.8 x 16 cm. Sheet 30.3 x 23.8 cm.

Provenance: Johan Kugelberg Collection. Gift from the photographer.

Literature: Anders Petersen, ‘Café Lehmitz’, 2004, reproduced fullpage page 32 and on the cover.

Anna Tellgren (ed.), ‘Åter till verkligheten. Fotografi ur Moderna Museets samling’, 2010, reproduced fullpage page 144.

Urs Stahel, Hasse Persson, Patric Leo and Anders Peter(…) (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

208. Christer Strömholm, ‘Pigalle, Paris’, 1954.

Signed CHR and with fingerprint on verso. Printed by Örjan Kristensen.

Gelatin silver print, image 29.5 x 22 cm.

Literature: Christer Strömholm, ‘Post Scriptum’, 2012, illustrated on fullpage p. 51. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

209. Georg Oddner, ‘Den dansande matrosen, Kiev’, 1955.

Signed Georg Oddner and dated 1955–1998. Also signed on verso.

Gelatin silver print, image 24 x 34 cm. Sheet 30 x 40 cm.

Literature: Georg Oddner, ‘Närvarande’, 1984, illustrated on spread p. 14–15.

Georg Oddner, ‘Georg Oddner: fyra kapitel. Fotografier 1996–1951’, Hasselblad Center, 1996, illustrated on p. 21.

Georg Oddner and Marianne Höök, ‘Georg Oddner. Genomresa’, 2003, illustrated o(…) (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

210. Kenneth Gustavsson, ‘Siden’, 1989.

Signed Kenneth Gustavsson and dated –89 on verso.

Gelatin silver print, image 20 x 29 cm.

Provenance: Acquired directly from the photographer.

Literature: Thomas Wågström (ed.), ‘The Magic Bar. Kenneth Gustavsson’, 2012, illustrated on fullpage p. 80. (d)

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

211. Kenneth Gustavsson, Untitled, 1990.

Signed Kenneth Gustavsson and dated –90 on verso.

Gelatin silver print, image 20 x 23 cm.

Provenance: Acquired directly from the photographer.

Literature: Thomas Wågström (ed.), ‘The Magic Bar. Kenneth Gustavsson’, 2012, illustrated on fullpage p. 135. (d)

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

212. Hans Gedda, ‘Carl XVI Gustaf’, 2010.

Signed Hans Gedda. Edition 14/25. Printed in 2016.

Gelatin silver print, image 42.5 x 42 cm.

Literature: Magnus Olausson e.a, ‘Hans Gedda, Det tredje ögat’, Nationalmusem, 2013, compare illustration p. 106. (d)

Estimate: SEK 25 000 / EUR 2 387

213. Lars Tunbjörk, Untitled, 1993.

Signed Lars Tunbjörk and dated 1993 on verso.

C–print, image 33 x 28 cm.

Provenance: Acquired directly from the photographer by the current owner. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

214. Riitta Päiväläinen, ‘Wind II’, 2000.

From the Vestige Series. Signed Riitta Päiväläinen and numbered 1/7 on label verso. C–print 100 x 125 cm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 820 – 5 730

215. Maria Friberg, ‘Absolut Dream’, 2015.

Signed Maria Friberg and numbered 3/10 on verso.

C–print silicone mounted to diasec and acrylic glass 41 x 70 cm.

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

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

216. Maria Miesenberger, ‘Untitled (Future)’. 1993–2000.

Signed Maria Miesenberger and numbered 1/5 on verso.

Gelatin silver print, image 43 x 67 cm. Including artist’s frame 56 x 80 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Literature: Maria Miesenberger, ‘Sverige/Schweden’, 2011, illustrated on spread No. 087. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

217. Maria Friberg, ‘Commoncause’, 2008.

Signed Maria Friberg and dated 2008 on verso. Edition 1/10 + 3 AP. C–print, laminate, wood 46 x 63 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Literature: Maria Friberg, Lorella Scacco, Michelle Marie Roy, ‘Maria Friberg, Changed positions’, 2016, illustrated on fullpage p. 47. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

218. Ann Eringstam, ‘In search of wonderland 12’, 2013.

Signed Ann Eringstam and numbered 3/5 on label verso. Total edition of 5 + 2 AP. Digital C–print mounted to aluminum and acrylic glass 100 x 150 cm.

Exhibitions: Passagen Linköpings konsthall, ‘Ann Eringstam Selected Works’, 21 March–10 May 2015. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 775 – 6 685

Irving Penn The series of images of the dancer Alexandra Beller, simply entitled ‘Dancer’, was Irving Penn’s final major artistically cohesive project. The result is a series of photographs, all different, some expressed with greater precision and power and others softer and more poetic. His personal engagement is clearly evident.

The image in our auction is expressively vibrant and exciting. In it Penn succeeds in capturing the fluidity of Alexandra’s movements while the focus is on her feet.

The image is considered a highlight of the ‘Dancer’ series. The photographs vary in size; the picture in the auction is one of the larger images. In 2001 the entire suite of Penn’s photographs was published together in the book, Dancer.

The historical context and the story behind the work are two elements that play a significant role in understanding the importance of a specific work of art. In this case we know precisely what these are. The ‘Dancer’ series marks the end of Penn’s great life as an artist. In the book of the same name, the subject of the photograph, Alexandra Beller, describes her meeting with Penn and what it felt like to stand in front of his camera: “Having never modeled nude before, my first session with Mr. Penn was an anxious and uncomfortable event.

Penn’s gaze made this both more and less relaxing. His respect, his integrity, his incredible calm was, of course, sources of relief to me; his intensity of focus, however, was like an X-ray, so any comfort gained by my superficial body evaporated quickly in the soul-searching depth of his eyes. His eyes were like no other that I have seen; keen does not begin to cover it. But after the first session, we scheduled another, and then another and another and eventually, without premeditation, the collection was born. […] Having trained my body for so long to sense both the past and the present through the skeleton, the muscles, the organs, the skin, his directions were like lasers, carving out evocative emotional pictures from the neutral self. We stayed neutral, socially, with each other, preferring to find this near–silent dialogue, this almost psychic connection of shape, thought, character and feeling. It remains the quietest, and one of the richest, collaborations, I’ve experienced.”

219. Irving Penn, Alexandra Beller, New York, 1999, (detail).

Signed Irving Penn and dated January 2000 on verso. Also stamped “Photograph

by Irving Penn copyright 1999” on verso. Edition 20. Vintage. Selenium-toned gelatin silver print, image 48 x 37.5 cm. From the “Dancer” series Estimate: 100 000 – 120 000 SEK / 9 551 – 11 461 EUR

219. Irving Penn, ‘Alexandra Beller, New York’, 1999.

Signed Irving Penn and dated January 2000 on verso. Also stamped ‘Photograph by Irving Penn copyright 1999’ on verso. Edition 20. Vintage.

Selenium–toned gelatin silver print, image 48 x 37.5 cm. From the ‘Dancer’ series.

Literature: Irving Penn e.a, ‘Dancer’, 2001, illustrated on fullpage pl. 24.

Estimate: SEK 100 000 – 120 000 / EUR 9 551 – 11 461

220. Patrik Andersson, ‘Kate Moss, contact sheet’, 1992.

Signed Patrik Andersson and numbered 1/25 on label verso.

Archival pigment print, image 120 x 95 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

221. Patrick Demarchelier, ‘Nadja, New York’, 1995.

According to the certificate this print is signed and stamped on verso.

Edition 14/20. Certificate included in the LOT. Selenium toned gelatin silver print, image 54 x 45 cm.

Provenance: Hamburg Kennedy Photographs, New York. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

222. Peter Beard, ‘Jacques–Henri Lartigue’, 1984.

Signed and dated 1984 and bears dedication. Triptyche framed together. Gelatin silver print, image 13 x 18 cm and 18 x 36 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

223. Gisèle Freund, ‘Jacques Prévert, Vence 1953’.

Signed Gisèle Freund. Also copyright stamp on verso. Gelatin silver print, image 29 x 23 cm. Sheet 35.5 x 28 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. 123. (d)

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

224. Bruce Weber, ‘Versace, Los Angeles, California’, 1988.

Gelatin silver print, image 23.5 x 18.5 cm.

Provenance: Acquired directly from the photographer.

Literature: Bruce Weber, ‘Blood Sweat and Tears’, 2005, compare image.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

225. Nick Brandt, ‘Wildebeest Arc, Maasai Mara’, 2006.

Signed Nick Brandt and numbered 14/15.

Pigment print, image 88 x 137.5 cm.

Provenance: Iris Gallery of Fine Art, Boston.

Literature: Nick Brandt, ‘On this Earth, a Shadow Falls’, 2010, illustrated on p. 114. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 640 – 9 551

226. Mikael Jansson, ‘Amber Valetta, New York Studio, 2000’.

Signed Mikael Jansson and dated 2004 and numbered 2/3 on verso. Total edition of 3 + 1 AP. C–print mounted to aluminum 80 x 80 cm.

Provenance: Galleri Christian Larsen, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

227. Jacob Felländer, ‘The Second Over That City’, 2009.

Signed Jacob Felländer and dated 2012 and numbered 5/5 on verso. C–print mounted to acrylic glass and framed 80 x 175 cm.

Provenance: Lindqvist Contemporary Art Advisory, Stockholm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 640 – 9 551

228. David LaChapelle, ‘Negative Currency: Ten Dollar Bill Used As Negative’, 1990–2008.

Signed David LaChapelle and numbered 4/5 on label.

Chromogenic print mounted to acrylic glass and framed, image 75 x 178 cm.

Provenance: Wolfgang Roth & Partners, Fine Art, Miami.

Estimate: SEK 225 000 – 250 000 / EUR 21 489 – 23 877

229. David Drebin, ‘Ultimatum City’, 2012.

Signed on label verso. Edition 7/10. C–print mounted to aluminum, image 76 x 114 cm.

Provenance: Camera Work, Berlin.

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

230. Julian Opie, ‘Voices Footsteps Telephone’, 2000.

Signed Julian Opie and numbered 20/40 on verso.

Chromogenic print, image 72.5 x 109 cm. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 910 – 2 865

231. Maria Friberg, ‘Black Balance’, 2015.

Signed Maria Friberg and numbered 4/5 on verso.

C–print silicone mounted to glass 120 x 100 cm.

Provenance: Galleri Andersson/Sandström, Stockholm.

Exhibitions: Another example exhibited at: Galleri Andersson/Sandström, Stockholm, ‘Piles of Dreams’, 12 November–19 December 2015. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

232. Esko Männikkö, ‘Sodankylä’, 1994.

Signed Esko Männikkö and numbered 2/20 on verso.

C–print 55 x 47.5 cm including artist’s frame.

Literature: Esko Männikkö, ‘Naarashauki – The Female Pike’, 2000, illustrated on fullpage p. 129. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

233. Nathalia Edenmont, ‘Tore’, 2005.

Signed N Edenmont and numbered 2/6 on verso.

C–print mounted to acrylic glass 117 x 96 cm.

Provenance: Wetterling Gallery, Stockholm.

Literature: Nathalia Edenmont, ‘Eternal’, 2011, illustrated on fullpage p. 63. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

234. Annika von Hausswolff, ‘Where everything begins and ends No. 2’, 1999.

Signed Annika von Hausswolff and dated –99 on verso. Edition AP 1 from a total edition of 3+2 AP. C–print silicone mounted to plexi glass 110 x 90 cm.

Provenance: Andréhn–Schiptjenko, Stockholm.

Literature: Annika von Hausswolff and Sara Arrhenius, ‘Annika von Hausswolff in Dialogue With Sara Arrhenius’, 2004, illustrated p. 25. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

235. Lars Tunbjörk, ‘Bank, Tokyo’, 1999.

From the series ‘Kontor’. Signed Lars Tunbjörk and numbered 1/12 on verso. C–print, image 25.6 x 20.5 cm. Sheet 30 x 24 cm.

Provenance: A gift from the photographer to the current owner.

Literature: Lars Tunbjörk, ‘Office/Kontor/Ofisu’, 2002, illustrated. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

236. Dan Wolgers, Untitled, 1996.

Signed Dan Wolgers and dated 1996 on verso. C–print and ballpoint pen, image 21 x 16.5 cm. Sheet 22.3 x 17.5 cm.

Literature: Dan Wolgers e.a, ‘Dan Wolgers verksamhet 1977–2001’, Liljevalchs Konsthall, 2001, exhibition catalogue, the sculpture illustrated on p. 76. (d)

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

237. Florian Maier–Aichen, ”Untitled Valley”, 2003.

Signed and numbered 6/6 on verso. C-print, image 126 x 158 cm.

Import VAT will be charged on the hammer price on this lot (d)

Estimate: SEK 250 000 – 300 000 / EUR 23 877 – 28 653

238. Florian Maier–Aichen, ”Untitled”, 2004.

Signed and numbered 5/6 on verso. C-print, image 122 X 154 cm.

Import VAT will be charged on the hammer price on this lot (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 938 – 14 326

239. Anders Krisár, ‘Flesh Cloud #2’, 2003.

Signed Krisár and numbered 6/6 on verso. C–print mounted to glass 54 x 69 cm.

Provenance: Lindqvist Contemporary Art Advisory, Stockholm. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

240. Helena Blomqvist, ‘Girl in Mourning’, 2008.

Signed Helena Blomqvist and numbered 6/6 on a label affixed to the back of the frame. A total edition of 6 + 2 AP. C–print, image 110 x 88 cm.

Literature: Angelika Knäpper Gallery, ‘Helena Blomqvist’, 2012, illustrated on fullpage. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 775 – 6 685

241. Maria Miesenberger, ‘Utan titel (speglingen)’, 1997.

Signed Maria Miesenberger and numbered 1/5 on verso. Printed in 2009.

Gelatin silver print, image 47 x 47 cm. Including artist’s frame 60 x 60 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Literature: Maria Miesenberger, ‘Sverige/Schweden’, 2011, illustrated on fullpage no 029. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

242. Mikael Jansson, ‘Nick Cave, London studio #1’, 2010.

Signed Mikael Jansson and dated 2001 and numbered 1/3 on label verso.

Gelatin silver print mounted on aluminum and framed 142 x 112 cm.

Total edition of 3 + 2 AP. Provenance: GUN Gallery, Stockholm.

Exhibitions: GUN Gallery, Stockholm, ‘Dum Dum Boys photographs by Mikael Jansson’, 19 May – 19 June 2011.

Literature: GUN Gallery and Mikael Jansson, ‘Dum Dum Boys photographs

by Mikael Jansson’, 2011, illustrated. (d)

Estimate: SEK 70 000 – 90 000 / EUR 6 685 – 8 595

243. Larry Clark, Untitled (man, flag, gun), 1971.

Signed Larry Clark and dated 1971 and numbered AP on verso. Vintage. Gelatin silver print, image 31.2 x 21 cm. Sheet 35.2 x 27.7 cm.

Estimate: 30 000 – 35 000 SEK / 2 865 – 3 342 EUR

246. Larry Clark, Untitled (Smoking with baby), 1963.

Signed Larry Clark and numbered 12/22 on verso.

Handwritten instructions in black felt pen.

Gelatin silver print, image 35.5 x 27.7 cm.

Estimate: 30 000 – 35 000 SEK / 2 865 – 3 342 EUR

252. Larry Clark, Brooklyn Banks, 1992.

Signed Larry Clark and dated 1992 on verso.

C–print 45.5 x 30.5 cm. Original flyer for the audition for the movie KIDS included in LOT, paper 21.5 x 13.5 cm.

Estimate: 8 000 – 10 000 SEK / 764 – 955 EUR

Larry Clark Larry Clark is one of the most important names in the history of photography.

His first project, published as the well-known photo book Tulsa (1971), was groundbreaking with its raw, grainy images depicting the life of young Americans on the edge of society.

The pictures, taken during Clark’s youth in Tulsa, Oklahoma, balance on the precipice between documentary, the voyeuristic and the confessional.

With a number of other photographers and filmmakers, including Nan Goldin and Gus Van Sant, who, like Clark, used the camera as a means of survival, his work formed a school. His focus has always been on documenting subcultures such as surfers, punks or skateboarders. To give the images authenticity he needs to understand and be part of the culture he depicts.

Clark’s mother worked as a baby photographer and from the age of 13 he was her assistant. He then went on to study photography for two years.

However, Clark was not a photographer searching for a documentary project; he simply documented the life he himself was living in Tulsa in the 1960s and 70s. He first became dependent on drugs when he was 16 and over a period of seven years he immortalized, sometimes with unbearable honesty, a life filled with parties, drugs, sex, crime and violence. It was a teenage culture that failed to match the contemporary image of The Young Americans.

In the 1990s Clark began to develop narrative qualities in his photography and progressed from still to moving images. His first film, KIDS, a comingof-age film set in New York City during the 1990s, hit the screens in 1995.

In it we follow a group of young people through a day of skateboarding, partying and sex. The script was written by the then 16 year-old Harmony Korine, and it was his first film too. The cast was made up of amateurs yet the film became the breakthrough for the now established actors Chloë Sevigny and Rosario Dawson.

The film’s documentary style and raw content attracted a great deal of attention and shook both the film world and society at large. Is this really how young people are living today? Opinion was divided – The New York Times called it “A wake-up call to the modern world” while others condemned it as pornography in the guise of a documentary. The film’s focus on skateboard culture helped launch street and lifestyle brands that are now global multi-million dollar industries, such as Supreme, Zoo York and others.

The provenance of the collection is Johan Kugelberg, a known collector and curator of ephemera such as art, photography, books and printed material in the sub-genres of popular culture. He is also a good friend of Larry Clark and all the photographs were acquired directly from the photographer.

Larry Clark is represented by the Simon Lee Gallery in London and the Luhring Augustine Gallery in New York City. Many of the motifs included in this auction can also be found in the images in the collections of Moderna Museet in Stockholm, most recently on display in 2009 in the exhibition ‘Back to Reality’.

Clark’s pictures are also in the collections of the Whitney Museum of American Art, the Museum of Fine Arts Boston, and the Metropolitan Museum of Art, New York. Additionally, Yale University and Cornell University have acquired pictures by Larry Clark.

244. Larry Clark, Dead, 1970.

Signed Larry Clark on verso. Vintage. Gelatin silver print, image 30.2 x 20.3 cm. Sheet 35.2 x 27.7 cm.

Estimate: 30 000 – 35 000 SEK / 2 865 – 3 342 EUR

243. Larry Clark, ‘Untitled (man, flag, gun)’, 1971.

Signed Larry Clark and dated 1971 and numbered AP on verso. Vintage.

Gelatin silver print, image 31.2 x 21 cm. Sheet 35.2 x 27.7 cm.

Provenance: Johan Kugelberg Collection. Acquired directly from the photographer.

Literature: Larry Clark, ‘Tulsa’, 1971, illustrated.

Larry Clark, ‘Tulsa’, 2000, illustrated.

Andrew Roth (ed.), ‘The open book: a history of the photographic book from 1878 to the present’, 2004, illustrated on p. 75.

Anna Tellgren, ‘Åter till verkligheten. Fotografi ur (…)

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

244. Larry Clark, ‘Dead’, 1970.

Signed Larry Clark on verso. Vintage. Gelatin silver print, image 30.2 x 20.3 cm. Sheet 35.2 x 27.7 cm.

Provenance: Johan Kugelberg Collection. Acquired directly from the photographer.

Literature: Larry Clark, ‘Tulsa’, 1971, illustrated on the cover.

Larry Clark, ‘Tulsa’, 2000, illustrated on the cover.

Martin Parr och Gerry Badger, ‘The Photobook: A History (volume 1)’, 2004, illustrated p. 260.

Andrew Roth (ed.), ‘The open book: a history of the photo(…)

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

245. Larry Clark, ‘Untitled (grimacing man)’, 1963.

Signed Larry Clark and dated 1963 and numbered AP on verso.

Vintage. Gelatin silver print, image 30.5 x 20.5 cm. Sheet 35.5 x 27.7 cm.

Provenance: Johan Kugelberg Collection. Acquired directly from the photographer.

Literature: Larry Clark, ‘Tulsa’, 1971, illustrated.

Larry Clark, ‘Tulsa’, 2000, illustrated.

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

246. Larry Clark, ‘Untitled (Smoking with baby)’, 1963.

Signed Larry Clark and numbered 12/22 on verso. Handwritten instructions in black felt pen in the margins. Gelatin silver print, image 35.5 x 27.7 cm.

Provenance: Johan Kugelberg Collection. Acquired directly from the photographer.

Literature: Larry Clark, ‘Tulsa’, 1971, illustrated.

Larry Clark, ‘Tulsa’, 2000, illustrated.

Andrew Roth (ed.), ‘The open book: a history of the photographic book from 1878 to the present’, 2004, illustrated p. 75.

Anna Tellgren, ‘Åter till verkligheten. Fotografi ur Mod(…)

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

247. Larry Clark, ‘Untitled (man in car with view of rainy night)’, 1963.

Signed Larry Clark and dated 1963 and numbered AP on verso. Vintage.

Gelatin silver print, image 20.7 x 31 cm. Sheet 27.5 x 35.5 cm.

Provenance: Johan Kugelberg Collection. Acquired directly from the photographer.

Literature: Larry Clark, ‘Tulsa’, 1971, illustrated.

Larry Clark, ‘Tulsa’, 2000, illustrated.

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

248. Larry Clark, Utan titel (KIDS), 1993.

Signed Larry Clark and dated 1993. C–print 45.5 x 30.3 cm. Original flyer for the audition for the movie KIDS included in LOT, paper 21.5 x 13.5 cm.

Provenance: Johan Kugelberg Collection. Acquired directly from the photographer.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

249. Larry Clark, Untitled (KIDS), 3.

Three photographs with stamped signature Larry Clark on verso. C–print 15 x 10 cm per part.

Provenance: Johan Kugelberg Collection.

Acquired directly from the photographer.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

250. Larry Clark, Untitled (Kids), 3.

Three photographs, one with stamped signature Larry Clark on verso. C–print 15 x 10 cm per part.

Provenance: Johan Kugelberg Collection.

Acquired directly from the photographer.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

251. Larry Clark, Untitled (Kids), 3.

Three photographs, two with stamped signature Larry Clark on verso. C–print 10 x 15 cm per part.

Provenance: Johan Kugelberg Collection.

Acquired directly from the photographer.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

252. Larry Clark, ‘Brooklyn Banks’, 1992.

Signed Larry Clark and dated 1992 on verso. C–print 45.5 x 30.5 cm. Original flyer for the audition for the movie KIDS included in LOT, paper 21.5 x 13.5 cm.

Provenance: Johan Kugelberg Collection. Acquired directly from the photographer.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

253. Larry Clark, Untitled, 2005.

Diptyche. Signed Larry Clark and dated 2005 on verso.

Dedication on verso. C–print, image 17 x 12 cm per del.

Sheet 17.7 x 12.6 cm.

Provenance: Johan Kugelberg Collection.

Acquired directly from the photographer.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

254. Larry Clark, Untitled (Kids), 3.

Three photographs with stamped signature Larry Clark on verso.

C–print 15 x 10 cm per part.

Provenance: Johan Kugelberg Collection. Acquired directly from the photographer.

Estimate: SEK 6 000 – 8 000 / EUR 573 – 764

255. Ed Templeton, ‘Tosh Sydney’, 2000.

Signed Ed Templeton and dated 2015 on verso. Gelatin silver print, image 22 x 32.5 cm. Sheet 27.5 x 35 cm.

Provenance: Johan Kugelberg Collection. Acquired directly from the photographer.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

256. Ed Templeton, ‘St. Paul’, 2009.

Signed Ed Templeton and dated 2011 on verso. Also stamped ‘Ed Templeton for MOCA 2011’ on verso. Gelatin silver print, image 38.5 x 26 cm. Sheet 39.5 x 26.5 cm.

Provenance: Johan Kugelberg Collection. Acquired directly from the photographer.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

257. Ed Templeton, ‘For Litmus Test Book’, 2010.

Signed Ed Templeton and dated 2010 on verso. Gelatin silver print, image 27.5 x 19 cm. Sheet 35.5 x 28 cm.

Provenance: Johan Kugelberg Collection. Acquired directly from the photographer.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

258. Francesca Woodman, Untitled, 1972–1980.

Stamped by the estate and signed in pencil by George and Betty Woodman and numbered 6/40 on verso. Gelatin silver print, image 12.7 x 12.5 cm.

Sheet 25.5 x 20.3 cm.

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

259. Åke E:son Lindman, ‘Flatiron Building, NYC’, 1997.

Signed Åke E:son Lindman on verso. Printed in 2016. Edition 2/5.

Archival pigment print, image 118 x 240 cm.

Literature: Julia Tedroff and Niclas Östlind, ‘Åke E:son Lindman: Pure Architecture’, 2010, illustrated on spread p. 20–21. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 640 – 9 551

260. Hans Gedda, ‘Sign of Freedom’, 1990.

Signed Hans Gedda. Numbered 5/10 on verso. Printed in 2014.

Gelatin silver print, image 90 x 89 cm.

Literature: Magnus Olausson e.a, ‘Hans Gedda; Det tredje ögat’, 2013, illustrated on fullpage p. 101. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 551 – 14 326

261. Gunnar Smoliansky, ‘Södermannagatan 1959’.

Signed Gunnar Smoliansky on verso. Gelatin silver print, image 34 x 23 cm.

Sheet 40 x 30 cm.

Provenance: Directly from the artist to the current owner in the 1990’s.

Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky –One Picture at a Time’, 2008, illustrated on fullpage p. 70. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

262. Anders Petersen, ‘ESPS, Drevviken’, 1995.

Signed Anders Petersen and dated 1995/03 on verso. Gelatin silver print, image 23 x 33 cm. Sheet 30 x 40 cm.

Provenance: Acquired directly from the photographer by the current owner.

Literature: Urs Stahel, Hasse Persson, Patric Leo and Anders Petersen, ‘Anders Petersen’, 2013, illustrated on fullpage p. 232. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

263. Christer Strömholm, ‘Leo äter frukost’, 1948.

Signed CHR Strömholm and with fingerprint on verso.

Gelatin silver print, image 19.5 x 29.5 cm.

Provenance: Galleri Camera Obscura, Stockholm. Karin & Lars Hall Collection.

Private Collection, Stockholm. Acquired at Bukowski Auktioner sale 570, Karin and Lars Hall’s collection of Swedish photography, 2012.

Exhibitions: Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser.

Karin och Lars Halls samling.’, 16 June–19 August 2001.

Literature: Anders Jonason & Christer Strömholm, ‘Konsten att vara där’, 1991, illustrated on fullpage p. 36.

Lars Hall & Gunilla Knape (ed.), ‘Imprints by Christer Strömholm – CHR’, 1998, illustrated on fullpage p. 133.

Joakim & Jakob Strömholm, ‘Christer Strömholm 1918–2(…) (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

264. Dawid (Björn Dawidsson), ‘Leksak (Toy) #4’, 1979.

Signed and stamped on verso. Vintage. Gelatin silver print, image 28 x 38 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

265. Gunnar Smoliansky, ‘Waldemarsudde’, 1998.

Signed Gunnar Smoliansky and dated 1998 on verso. Pigment print, image 50 x 49.5 cm. Sheet 70 x 69 cm.

Provenance: Acquired directly from the artist by the current owner. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

266. Gisèle Freund, ‘Au pays des visages’.

Portfolio published in Washington DC 1977 by Edition Lunn Gallery/Graphics International Ltd. 10 signed color photographs. Numbered 8/30. A total edition of 30 + 6 AP/PP. Each photograph signed and copyright stamped and numbered. Each photograph mounted under a mat.Dye transfer print, image varying sizes ca 30 x 20.5 cm. Sheet 46 x 35.5 cm. Blue linen portfolio box 54 x 43 x 5 cm.

Literature: Christian Caujolle (ed.), ‘Gisèle Freund. Photographien und Erinnerungen’, 2008, illustrated on plates 65, 78, 81, 97, 101, 114, 124, 129, 132. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

267. Gunnar Smoliansky, ‘Saltsjö–Boo 1991’.

Signed Gunnar Smoliansky on verso. Gelatin silver print, image 12.3 x 12 cm.

Sheet 22.5 x 17.7 cm.

Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky – One Picture at a Time.

Photographs 1952–2008’, 2008, illustrated p. 35. (d)

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

268. Gunnar Smoliansky, Untitled, 1990.

Signed Gunnar Smoliansky on verso. Gelatin silver print, image 12.3 x 12 cm.

Literature: Gerry Johansson, Gunnar Smoliansky och Carl–Johan Malmberg, ‘Trivia.

Johansson, Malmberg, Smoliansky.’, 1992, illustrated. (d)

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

269. Gunnar Smoliansky, ‘Slussen’, 1952.

Signed Gunnar Smoliansky on verso. Gelatin silver print, image 26.5 x 26.5 cm.

Literature: Gunnar Smoliansky and Carl–Johan Malmberg, ‘Gunnar Smolianskys fotografier från Slussen i Stockholm’, Prins Eugens Waldemarsudde, 2002, illustrated. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

270. Bruno Ehrs, ‘Carl XVI Gustaf, Skeppsholmen, maj 2002’.

Signed Bruno Ehrs and numbered 26/50 on verso. Printed 2016.

Pigment print, image 81 x 64 cm. Sheet 111 x 91 cm. (d)

Estimate: SEK 70 000 – 90 000 / EUR 6 685 – 8 595

271. Tuija Lindström, Untitled. From the series Sandemar, 1990.

Signed Tuija Lindström on verso. Gelatin silver print, image 14.5 x 46.5 cm.

Provenance: A gift from the photographer to the current owner. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

272. László Moholy–Nagy, Untitled (FGM206), 1925–1928.

Signed Moholy–Nagy and numbered 1/20 in pencil on verso.

Printed ca. 1929. Studio stamp ‘moholy–nagy, berlin–chbg. 9, fredericiastr. 27’ on verso. Gelatin silver print, 40 x 30 cm. This print is an enlargement from the original photogram ‘Untitled ( FGM206), Dessau 1925–1928.

Provenance: Galerie Aronowitsch, Stockholm.

Private Collection, Stockholm.

Literature: Renate Heyne and Floris M. Neusüss (ed.) with Hattula Moholy–Nagy, ‘Moholy–Nagy. The Photograms. Catalogue Raisonné’, 2010, pp. 229–231.

Estimate: SEK 500 000 – 600 000 / EUR 47 755 – 57 306

273. Blaise Reutersward, ‘CTCS307’, 2015.

Signed BLAISE REUTERSWARD and numbered AP 1/2 on label verso. Total edition of 5 + 2 AP. C–print diasec mounted and framed 180 x 230 cm. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 551 – 11 938

274. Damien Hirst, ‘Lysergic Acid Diethylamide (LSD)’, 2000.

Signed Damien Hirst. Numbered 202/300 on verso.

Lambda print 106 x 126 cm.

Provenance: Pharmacy restaurant, London.

Private collection, Sweden. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

275. Anton Corbijn, ‘Bono (hat) Cabo San Luca’, 1997.

Signed Anton Corbijn on label verso. Edition 5/8.

C–print silicone mounted to plexi glass 125 x 185 cm.

Provenance: Tres Hombres Art, Halmstad. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 551 – 11 461

276. Steven Meisel, ‘Stephen Sprouse, Stephen Lee Ashby, June 1990’.

Stamped ‘Steven Meisel copyright 1990’ on verso. Gelatin silver print, image 48 x 31.5 cm.

Provenance: Acquired directly from the photographer by the current owner.

Literature: Interview Magazine, article ‘25 Years of Stephen Sprouse’, January 2009, illustrated.

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

277. Jacob Felländer, ‘Peoplescape Gold’, 2012.

Signed Jacob Felländer and numbered 5/5 on certificate on verso.

Total edition of 5 + 2 AP. C–print mounted to glass 80 x 175 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

278. Helmut Newton, ‘Sumo’.

Signed Helmut Newton and numbered 4983/10000. 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 70 000 – 90 000 / EUR 6 685 – 8 595

279. Jorma Puranen, ‘Shadows and Reflections 79,’ 2013.

Edition 2/6. A copy of the original receipt included in LOT. C–print mounted to acrylic glass and framed, image 125 x 100 cm.

Provenance: Purdy Hicks Gallery, London. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

280. Esko Männikkö, ‘Organized Freedom 43’, 1999 –2000.

Signed Esko Männikkö and numbered 1/20 on verso. C–Print, 101 x 84 cm including the artist’s frame.

Provenance: Galerie Nordenhake, Berlin. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

281. Esko Männikkö, ‘Click Beetle?’, 2003.

Signed Esko Männikkö and numbered 2/20 on verso. C–print, 40.5 x 50.5 cm including the artist’s frame.

Provenance: Galerie Nordenhake, Berlin. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

282. Cecilia Edefalk, ‘At the Moment Untitled’, 2005.

Signed Cecilia Edefalk and dated 2005 on the back of the frame.

Edition 1/1. Gelatin silver print 102 x 130 cm.

Provenance: Brändström & Stene, Stockholm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

283. Ebba Matz, ‘Reptrick’, 2000.

Signed Ebba Matz and numbered 1/10 on verso.

C–print mounted to glass 67 x 39.5 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

284. Ann–Sofi Sidén, ‘Studies for Fidei Commissum’, 2000–2001.

Diptyche. Edition 6/6. 16 gelatin silver prints framed together in two frames, image 25 x 19.5 cm per part. 103 x 146 cm per frame.

Provenance: Christine König Galerie, Wienna.

Galerie Nordenhake, Berlin. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

285. Gunnar Smoliansky, ‘Saltsjö–Boo 1986’.

Signed Gunnar Smoliansky on verso. Gelatin silver print, image 26 x 16 cm.

Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky –One Picture at a Time’, 2008, illustrated on fullpage p. 132. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

286. Gunnar Smoliansky, ‘Saltsjö–Boo 1986’.

Signed Gunnar Smoliansky on verso. Gelatin silver print, image 26 x 16 cm.

Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky –One Picture at a Time’, 2008, illustrated p. 267. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

287. Sune Jonsson, ‘Marbäck 14 okt 1973’.

Signed Sune Jonsson. Gelatin silver print, image 25.5 x 38 cm.

Literature: Sune Jonsson, ‘Jordabok, odlingsbilder 1971–75’, 1976, avbildad. (d)

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

288. Georg Oddner, ‘Välsignelse och död, Valadolid, Spanien 1970’.

Inscription ‘Georg’ on the back of the frame. Printed circa 2003. Pigment print, image 59 x 92 cm.

Provenance: Acquired directly from the photographer by the current owner circa 2004.

Exhibitions: Malmö konsthall, ‘Georg Oddner. Genomresa’, 13 September–2 November 2003.

Literature: Georg Oddner, ‘Georg Oddner: fyra kapitel. Fotografier 1996–1951’, Hasselblad Center, 1996, illustrated on p. 18.

Georg Oddner and Marianne Höök, ‘Georg Oddner. Genomresa’, 2003, illustrated on spread p. 398–399. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 719 – 1 910

289. Gisèle Freund, ‘Simone de Beauvoir, Prix de Goncourt Paris 1954’.

Signed Gisèle Freund. Also copyright stamp on verso. Gelatin silver print, image 24 x 16 cm. Sheet 30.3 x 24 cm.

Literature: Musee National d’art moderne Centre Pompidou, ‘Gisele Freund Itineraires’, 1991, illustrated on p. 108. (d)

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

290. Antanas Sutkus, ‘Look, Godeliai 1972’.

Signed A. Sutkus on verso. Gelatin silver print, image 36.7 x 36.7 cm.

Sheet 39 x 39.5 cm.

Provenance: Acquired directly from the photographer by the current owner. (d)

Estimate: SEK 5 000 – 7 000 / EUR 477 – 668

291. Klara Lidén, ‘Untitled (Monkey)’, 2010.

Signed certificate issued 15.01.2014 included in LOT. Edition 2/3 +2 AP. Inkjet print 60 x 40 cm.

Provenance: Carl Kostyál, Stockholm.

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

Estimate: SEK 50 000 – 70 000 / EUR 4 775 – 6 685

292. Andreas Kock, ‘Stalker II’, 2010.

Signed Andreas Kock and numbered 8/15 on label verso.

C–print 119 x 159 cm.

Provenance: Link Image Art Edition, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

293. Leif–Erik Nygårds, ‘Marilyn Monroe photographed in Los Angeles at Bel Air Hotel, June 27th 1962’.

Signed Leif–Erik Nygårds and numbered 12/32 on verso.

Inkjet print, image 50 x 75 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

294. Annika von Hausswolff, ‘The Memory of Water’, 2006.

Signed Annika von Hausswolff on verso. Printed in 2006.

Edition 2/3 + 2 AP. Fiber print, 60 x 90 cm.

Provenance: Andréhn–Schiptjenko, Stockhholm.

Literature: Magasin 3 Konsthall Stockholm, ‘Ich bin die ecke aller räume’, 2008, illustrated. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

295. Blaise Reutersward, ‘Deutsche Landschaft 1205’, 2012.

Signed BLAISE REUTERSWÄRD on label verso. Printed in 2014 and numbered AP 1/2. Total edition of 5 + 2 AP. C–print, image 155 x 207 cm.

Provenance: Galerie Camera Work, Berlin.

Exhibitions: Another example exhibited at; Galerie Camera Work, Berlin, ‘ Aktstudien und Deutsche Landschaften’, 24 August – 12 October 2013. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 551 – 11 461

296. Denise Grünstein, ‘In Transit’, 2015.

Signed Denise Grünstein and dated 2016 and numbered AP 1/1 on verso. Total edition of 3 + 1 AP. C–print mounted to aluminum and framed, image 79 x 101 cm. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 775 – 6 685

297. Lennart Olson, ‘Salginatobel brücke V, Schweiz’, 1990.

Signed Lennart O and bears copyright labels on verso. Gelatin silver print 24 x 29 cm.

Provenance: Acquired directly from the photographer by the current owner.

Literature: Pontus Hultén, ‘Looking back – Vintage Photographs by Lennart Olson’, 2001, compare with image on p. 45. (d)

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

298. Lennart Olson, ‘Tjörnbron XIII’, 1961.

Signed Lennart O and bears copyright labels on verso. Gelatin silver print, image 19 x 27,5. Sheet 24 x 30 cm.

Provenance: Acquired directly from the photographer by the current owner.

Literature: Ulf Hård Af Segerstad, ‘From one side to the other. Bridges photographed

by Lennart Olson’, 2000, illustrated p. 128. (d)

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

299. Ansel Adams, ‘Near Corral de Tierra’, 1977.

Signed Ansel Adams and annotated ‘For reproduction’ on the mount.

The photographer’s and Hasselblad’s credit stamp on the reverse of the mount. Gelatin silver print glued to cardboard, image 25.5 x 26.5 cm.

Cardboard 41.2 x 33.6 cm.

Provenance: The current owner was employed by Hasselblad AB for eleven years and left the company in 1978 and received this print as a farewell gift.

Estimate: SEK 35 000 – 40 000 / EUR 3 342 – 3 820

300. Anders Petersen, ‘Libreria Veccia, Piazetta di San Marco’, 1986.

Signed Anders Petersen and dated 1986/1991 on verso. Vintage.

Gelatin silver print, image 47 x 34.3 cm.

Provenance: Karin & Lars Hall Collection.

Private Collection, Stockholm. Acquired at Bukowski Auktioner sale 570, Karin and Lars Hall’s collection of Swedish photography, 2012.

Exhibitions: Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser.

Karin och Lars Halls samling.’, 16 June–19 August 2001.

Literature: Ralph Nykvist and Anders Petersen (e.a), ‘Karnevalen i Venedig’, 1991, reproduced plate no 8.

Urs Stahel, Hasse Persson, Patric Leo and Anders Petersen, ‘Anders Petersen’, 2013, illustrated on fullpage p. 253. (d)

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

301. Eva Klasson, Untitled, 1976.

Signed Eva Klasson and dated ‘Paris, tiré par mes soins in the early 80’s’ on label affixed to the verso. Vintage. Gelatin silver print, image 28 x 18 cm.

Provenance: Directly from the photographer to the current owner. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

302. Eva Klasson, ‘Prise de vue’, 1976.

Signed Eva Klasson and dated ‘Paris 1976 tiré par mes soins 1978’ on a label affixed to the verso. Vintage. Gelatin silver print, image 31 x 28.5 cm.

Provenance: Acquired directly from the photographer to the current owner. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

303. Helena Blomqvist, ‘Le Petit Soldat’, 2007.

Signed Helena Blomqvist and numbered 6/6 on a label affixed to the back of the frame. A total edition of 6 + 2 AP. C–print, image 110 x 88 cm.

Literature: Helena Blomqvist, ‘The Last Golden Frog’, 2008, illustrated on spread.

Angelika Knäpper Gallery, ‘Helena Blomqvist’, 2012, illustrated on fullpage in color. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 775 – 6 685

304. Andres Serrano, ‘Russia (Irina Slutskaya, Olympic Champion…)’, 2005.

Signed Andres Serrano and numbered 1/3 on verso. Total edition of 3 + 2 AP. Cibachrome, silicone, plexi glass and wooden frame, image 151 x 124.5 cm.

Provenance: Paula Cooper Gallery, New York.

Galleri Charlotte Lund, Stockholm.

Exhibitions: Moscow House of Photography, Moskva, ‘Andres Serrano–Retrospective’, 2005.

Collection Lambert en Avignon, Avignon, Frankrike, ‘La Part Maudite’, 2006.

Galleri Charlotte Lund, Stockholm, ‘Russia’, 19 April–2 June 2007.

Estimate: SEK 50 000 – 60 000 / EUR 4 775 – 5 730

305. Jan Svenungsson, ‘CORNERED’, 1992.

Signed Svenungsson on verso. Gelatin silver print 230 x 50 cm including the artist’s frame. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

305A. Nick Brandt, ‘Cheetah Standing on Rock, Serengeti, 2007’.

Signed Nick Brandt and numbered 11/25. Total editioin of 25 + 3 AP. Archival pigment print, image 52 x 51 cm.

Provenance: Atlas Gallery, London.

Literature: Nick Brandt, ‘On this Earth. A Shadow Falls’, 2010, illustrated on fullpage p. 136. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 775 – 6 685

306. Antanas Sutkus, ‘My Twin Daughters with Aunt Elena, Salakas 1978’.

Signed A. Sutkus on verso. Gelatin silver print, image 33.5 x 33 cm.

Sheet 45.4 x 40.5 cm. (d)

Estimate: SEK 5 000 – 7 000 / EUR 477 – 668

307. Georg Oddner, ‘Reinhold Svensson, den blinde pianisten, 1956’.

Signed Georg on verso. Gelatin silver print, image 34 x 28 cm.

Provenance: A gift from the photographer to the current owner.

Literature: Georg Oddner and Marianne Höök, ‘Georg Oddner. Genomresa’, 2003, illustrated on fullpage p. 379. (d)

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

308. Antanas Sutkus, ‘Untitled Dzukija, 1969’.

Signed A. Sutkus and dated 1969 on verso. Gelatin silver print, image 48.5 x 48 cm. Sheet 53 x 49 cm.

Provenance: Acquired directly from the photographer by the current owner. (d)

Estimate: SEK 5 000 – 7 000 / EUR 477 – 668

309. Gisèle Freund, ‘Colette au lit, Paris’.

Signed Gisèle Freund. Also copyright stamp on verso.

Gelatin silver print, image 30 x 20.5 cm. Sheet 40 x 28.5 cm.

Literature: Musee National d’art moderne Centre Pompidou, ‘Gisele Freund Itineraires’, 1991, illustrated on p. 138. (d)

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

310. David Hockney, ‘Joe McDonald’.

Litograph, 1976, signed in blue crayon and numbered 43/99. Published by Gemini G.E.L. Los Angeles and with their blindstamp. S: 105.5 x 75:5 cm.

Literature: Scottish Arts Council 175. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

311. ‘The New York Collection for Stockholm’.

30 prints in various techniques, 1973, published by Experiments in Art and Technology. All signed by the artists and numbered 192/300. 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, H(…)

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

312. Tom Wesselmann, ‘The Smoker’, from ‘An American Portrait’.

Screenprint, 1976, signed in pencil and numbered 61/175. I: 41.5 x 41 cm, S: 65 x 48 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 820 – 5 730

313. Damien Hirst, ‘Psalm print – Deus, deus meus’.

Silkscreen in colours, with diamond dust, 2010, signed in pencil and numbered 10/50, published by Other Criteria and with their blindstamp, also with blindstamp of Damien Hirst. S: 74 x 71.5 cm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 820 – 5 730

314. Damien Hirst, ‘For the love of God’.

Silkscreen with diamond dust, 2009, signed and numbered 93/1000. S: 32 x 24 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

315. Damien Hirst, ‘Providence’.

Etching, 2009, signed in pencil and numbered 3/45. I: 29.5 x 25 cm, S: 47 x 39.5 cm. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

316. Keith Haring, ‘Untitled, Pl. 1’, from ‘Pop Shop IV series’.

Screenprint in colours, 1989, signed and numbered 107/200. I: 30 x 37 cm.

Provenance: Art Insight, New York (acquired in 1995).

Estimate: SEK 80 000 – 100 000 / EUR 7 640 – 9 551

317. Keith Haring, ‘Untitled, Pl. 4’, from ‘Pop Shop I series’.

Screenprint in colours, 1987, signed K Haring and numbered 5/200.

I: 27 x 34 cm. S: 30.7 x 38 cm.

Provenance: Art Insight, New York (acquired in 1995) Literature: Klaus Littmann p. 82

Estimate: SEK 150 000 – 200 000 / EUR 14 326 – 19 102

318. Banksy, ‘Christ with Shopping Bags’.

Screenprint in colours, 2004, signed and numbered 63/82. S: 69 x 49 cm.

Provenance: Acquired at Allmänna Galleriet, Stockholm, 2005. (d)

Estimate: SEK 200 000 – 250 000 / EUR 19 102 – 23 877

319. Andy Warhol (After), ‘Josef Beuys’.

Offset on paper, 1980/83. Signed Andy Warhol and Joseph Beuys.

I: 33 x 27.5 cm. S: 40 x 30 cm.

Literature: Compare Feldman 242.

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

320. Robert Rauschenberg, ‘Cardbird II’, from ‘Cardbird Series’.

Mixed media/collage (edition), 1971, signed on verso and numbered 12/75.

Published by Gemini G.E.L., Los Angeles. 138 x 86 cm.

Provenance: Galerie Burén, Stockholm, 1972.

Literature: Gemini Publication Sequence Number, 304.

Estimate: SEK 100 000 – 120 000 / EUR 9 551 – 11 461

321. Sam Francis, ‘Cut Throat’.

Litograph in colours, 1971, signed in pencil and numbered 32/62.

Printed and published by Gemini G.E.L., Los Angeles, with their blind stamp on verso. S: 114.5 x 79.5.

Literature: Gemini Publication Sequence Number, 312.

Estimate: SEK 60 000 – 80 000 / EUR 5 730 – 7 640

322. Frank Stella, ‘Carl André’, from ‘Purple Series’.

Lithograph in colours, 1972, signed in pencil and numbered 6/100.

Published by Gemini G.E.L, Los Angeles, with their blind stamp. S: 40 x 56 cm.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

323. Frank Stella, ‘Del Mar’, from ‘Race Track Series’.

Screenprint in colours, 1972, on Gemini Rag Board, signed in pencil and numbered 49/75, published by Gemini G.E.L., Los Angeles, with their blind stamp. I: 38.3 x 189.2 cm, S: 57 x 205 cm.

Literature: Gemini Publication Sequence Number, 377.

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

324. Jasper Johns, ‘Leg and Chair’, from ‘Fragment – According to What’.

Lithograph in colours, on Arches paper, 1971, signed blue crayon and numbered 63/68. Published by Gemini G.E.L., Los Angeles, with their blind stamp on verso.

S: 89.5 x 75.4 cm.

Literature: Gemini Publication Sequence Number, 287.

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

325. Robert Rauschenberg, ‘Brake’, from ‘Stoned Moon Series’.

Litograph on Arches paper, 1969, signed in pencil and numbered 19/60.

Published by Gemini G.E.L., Los Angeles. S: 106.5 x 73.5 cm.

Exhibitions: Gemini Publication Sequence Number, 176.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

326. Robert Rauschenberg, ‘Trust Zone (Stoned Moon Series)’.

Litograph in colours, 1969, signed in pencil and numbered 49/65. Published by Gemini G.E.L., Los Angeles. S: 102 x 83 cm.

Literature: Gemini Publication Sequence Number, 160.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

327. Ellsworth Kelly, ‘Yellow/Orange’, from ‘Series of Ten Lithographs’.

Litograph in colours, 1970, signed in pencil and numbered 13/75, printed by Gemini G.E.L, Los Angeles, with their blind stamp. S: 88 x 105 cm.

Literature: Gemini Publication Sequence Number, 239.

Estimate: SEK 15 000 – 20 000 / EUR 1 432 – 1 910

328. Claes Oldenburg, ‘Untitled (Tar Pits)’.

Litograph in colours, 1968, signed in pencil and numbered 30/100. Published

by Gemini G.E.L., Los Angeles with their blind stamp. S: 57.5 x 39.8 cm.

Literature: Gemini Publication Sequence Number, 112.

Estimate: SEK 8 000 – 10 000 / EUR 764 – 955

329. Robert Rauschenberg, ‘Pit Boss’, from ‘Bones & Unions’.

Multiple, handmade paper, bamboo and fabric, 1975, signed in pencil and numbered 17/28, published by Gemini G.E.L., and with their blind stamp.

87 x 66 cm.

Literature: Gemini Publication Sequence Number 635.

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

330. Öyvind Fahlström, ‘Column no. 4 (IB–affair)’.

Silkscreen in colour on Fabriano Buttenkarton, 1974, signed in pencil 120/300, printed by Domberger, Stuttgart, published by Die Zeit, Berlin. I: 59 x 48.5 cm, S: 75.7 x 56 cm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 955 – 1 146

331. Tom Wesselmann (After), ‘Bedroom Blonde’.

Transfer–printed glazed porcelain tile in colours, published by Rosenthal Limiterite Kunstreiben, 1988, numbered 49/100. 35 x 44 cm. In its original wooden presentation box.

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

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.”

336. 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 77/250, printed by Rupert Jasen Smith, New York, published by Galerie Börjeson, Malmö. I./S: 96.5 x 96.5 cm.

Estimate: 800 000 – 1 000 000 SEK / 76 408 – 95 510 EUR

332. Patrick Heron, ‘Winchester Four II’.

Screenprint, 1967, signed in pencil and numbered 10/33, I: 57 x 89 cm, S: 76 x 101.5 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 387 – 2 865

333. Miquel Barceló, ‘Lanzarote 15’.

Aquatint, 1990, signed in pencil and numbered 25/35. P: 43 x 53 cm, S: 65 x 74 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 865 – 3 820

334. Bruce Nauman, Untitled.

Lithograph, 1990, signed and numbered 24/45. S: 42 x 48.5 cm.

Provenance: Anders Tornberg Gallery, Lund.

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

335. ‘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, Öyvi(…)

Estimate: SEK 40 000 – 50 000 / EUR 3 820 – 4 775

336. 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 77/250, printed by Rupert Jasen Smith, New York, published

by Galerie Börjeson, Malmö. I./S: 96.5 x 96.5 cm.

Provenance: Galleri Börjeson, Malmö.

Estimate: SEK 800 000 – 1 000 000 / EUR 76 408 – 95 510

337. Andy Warhol, ‘Flowers (Hand Colored)’.

Silkscreen with hand–coluring, 1974, on Arches paper, signed with initials in pencil, and also signed and numbered 110/250 in pencil on verso, printed by Alexander Hienrici, New York, published by Peter M. Brant, Castelli Graphics and Multiples, Inc. New York. S: 104 x 69.5 cm.

Literature: Feldman II.115.

Estimate: SEK 30 000 – 35 000 / EUR 2 865 – 3 342

338. Andy Warhol, ‘Red Lenin’.

Silkscreen in colours, 1987, on Arches wove paper, signed on the reverse by the executor of the Andy Warhol estate, with their stamped authentication certificate, numbered 114/120, printed by Rupert Jasen Smith, New York, and with his blindstamp, published by the artist’s estate, New York. L./S: 100 x 74,8 cm.

Literature: Feldman/Schellmann II.403.

Import VAT will be charged on the hammer price on this lot

Estimate: SEK 700 000 – 800 000 / EUR 66 857 – 76 408

339. Christo & Jeanne–Claude, ‘The Umbrellas (Joint project for Japan and USA)’.

Offset in colours, with a collage of fabric, 1999, signed in pencil. I: 58 x 73 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 146 – 1 432

340. Christo & Jeanne–Claude, ‘The Gates, Central Park, New York’.

Offset in colours, with a collage of fabric, 2013, signed i pencil. S: 69 x 100.5 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 910 – 2 387

110. Juri Markkula, ‘Green’.

Bukowskis Spring 2019

How to participate in our auctions

There are four ways to bid at Bukowskis.

Contemporary Art & Design Stockholm

1

In the auction room

2

Absentee bidding

Viewing April 26 – May 3 Auction online May 5

3

By phone

Modern Art + Design

4

Live bidding

Viewing April 4 – 8 Auction April 9

Important Timepieces

Once registred for a paddle you are welcome to bid in the salesroom. The auctioneer will announce the bids. If the object and price is right, raise the paddle. Continue until you are the only bidder remaining.

Stockholm Viewing April 4 – 8 Auction April 9

Helsinki Spring Sale

If your are unable to attend the auction, simply place an absentee bid at least 1 hour before the sale and we will bid on the item for you. It is easy. Just submit your maximum bid online.

Helsinki

Stockholm Viewing May 9 –14 Auction May 15

If you prefer to bid by phone, we will call you from the salesroom and bid on your behalf.

To bid in real-time online is not only easy and convenient, it has become very popular among our clients. Bid from wherever you are, but make sure to register for an account in advance. www.bukowskis.com

Important Spring Sale Stockholm Viewing May 29 – June 3 Auction June 4 – 5

Helsinki Design Sale Helsinki Viewing June 3 – 12 Auction online June 13

Estimates are given in Swedish kronor (SEK). Bukowskis general terms and conditions for buyers and sellers, bidding instructions, and special terms and conditions for individual lots can be found at www.bukowskis.com

Bukowskis Stockholm Arsenalsgatan 2 Box 1754 111 87 Stockholm, Sweden T +46 8 614 08 00 F +46 8 611 46 74 www.bukowskis.com