Bukowskis | Contemporary Art & Design 639 | Design | April 2022

T U E S D AY From 11 am (CEST) Design

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APRIL 26 Lot. no 1 – 93

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Photography

94 – 209

Contemporary Art

210 – 386

Prints

387 – 437

From 7 pm (CEST)

Lot. no

Important Timepieces N° 638

1 – 128

Cover: 372. James Rosenquist, From Ladies of The Opera Terrace.

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

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

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

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

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

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

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

Carpets, Textiles & Islamic Works of Art Christopher Stålhandske, +46 708 19 12 58 christopher.stalhandske@bukowskis.com

T U E S D AY From 11 am (CEST) Design

From 2 pm (CEST)

APRIL 26 Lot. no 1 – 93

Lot. no

Photography

94 – 209

Contemporary Art

210 – 386

Prints

387 – 437

From 7 pm (CEST)

Lot. no

Important Timepieces N° 638

1 – 128

1. Erik Höglund (Sweden, 1932–1998), a sculptural wall mirror, Eriksmålaglas, Sweden, 1960–70s.

Polychrome painted pine, the front with sculptured flowers, two birds, a cat and two candleholders, signed EH, height 175 cm, width 70 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

2. Erik Höglund (Sweden, 1932–1998), a floor candelabrum, Boda Smide, Sweden 1960–70s.

White lacquered iron base with cast and mould blown clear glass, 12 candleholders, height ca 117 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

3. Hans–Agne Jakobsson (Sweden, 1919–2009), a model ‘G–123’ floor lamp, Hans–Agne Jakobsson AB Markaryd, Sweden 1960–70s.

Brass, textile shade, maker’s mark Hans–Agne Jakobsson AB Markaryd G123/500, height 140 cm, diameter 60 cm.

Estimate: SEK 6 000 – 8 000 / EUR 570 – 760

Erik Höglund in front of a similar mirror.

4. Hilma af Klint (Sweden, 1862–1944), a carpet, ‘Group VI, no 15, Series WUS, Seven Pointed Star’, 11/30, hand tufted, ca 221 x 168 cm.

Produced by Asplund in collaboration with the Hilma af Klint Foundation and CFHILL. Hand tufted in India around 2019. Edition of 30.

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

5. Jonas Bohlin (Sweden, 1953–), a ‘Slottsbacken’ cabinet, ed. 104/200, Källemo, Sweden post 1987.

6. Jonas Bohlin (Sweden, 1953–), a ‘Sto’, chair, ed. 4/70, Jonas Bohlin Design AB Stockholm, post 1990.

Stained oak, sheet iron, the interior with five glass shelves, marked with plaque SLOTTSBACKEN av JONAS BOHLIN 1987 för KÄLLEMO– VÄRNAMO–SWEDEN. Produced in 200 ex 1/200 – 200/200 and 10 ex signed 1/X – X/X. Number 104/200 JONAS BOHLIN, height 210 cm, width 70 cm, depth 37 cm.

Iron and oak, signed STO 4/70 jONAS BOHLIN 1990, height 94,5 cm, width 31,5 cm, depth 52,5 cm.

(d)

Estimate: SEK 125 000 – 150 000 / EUR 11 850 – 14 220

(d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

7. Jonas Bohlin (Sweden, 1953–), a ‘Concrete’ armchair, ed. 36/100, Källemo, Värnamo, Sweden post 1981.

Concrete and iron, signed 36/100 jONAS BOHLIN, height 90 cm, width 49 cm, depth 57 cm, seat height 45,5 cm. (d)

Estimate: SEK 175 000 – 200 000 / EUR 16 590 – 18 960

8. Tom Wolgers (Sweden, 1959–2020), ‘Sound Construction 4’, ed. 500, an album for Jonas Bohlin’s exhibition ‘Hommage’, IVM – IVM 17, 1987.

9. Mats Theselius (Sweden, 1956–), a cabinet ‘National Geographic, 25th Anniversary edition’, ed. 18/220, Källemo, Sweden, post 2015.

12 inch, vinyl, 6 tracks.

Covered in a linen textile with a printed leaf pattern, base in brass with two drawers, maker’s mark ‘National Geographic, 25th Anniversary edition’, ed. 18/220, Källemo, height 170 cm, width 58 cm, depth 29 cm.

Estimate: SEK 1 000 – 1 500 / EUR 100 – 150

(d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

10. Mats Theselius (Sweden, 1956–), an ‘El Dorado’ easy chair, ed. 7/360, Källemo Sweden post 2002.

Brass, natural brown leather, birch, label marked EL DORADO by Mats Theselius 2002 No 7/360 KÄLLEMO AB SWEDEN, seat height ca 47 cm, height 78 cm, width 65 cm. (d)

Estimate: SEK 75 000 – 100 000 / EUR 7 110 – 9 480

12. Louis Weisdorf (Denmark, 1939–), a ‘Multi–Lite’, ceiling lamp, Lyfa, Denmark 1960–70s.

Brass, adjustable shades, maker's mark, diameter ca 39 cm.

Estimate: SEK 6 000 – 8 000 / EUR 570 – 760

11. Mats Theselius (Sweden, 1956–), an ‘El Dorado’ easy chair, ed. 8/360, Källemo Sweden post 2002.

12 A. Jonas Bohlin (Sweden, 1953–), a ‘Concrete Jungle’ table, ed. 27/100, Källemo, post 2007.

Brass, natural brown leather, birch, label marked EL DORADO by Mats Theselius 2002 No 8/360 KÄLLEMO AB SWEDEN, seat height ca 47 cm, height 78 cm, width 65 cm.

Base in black lacquered steel, concrete top, white stones and candles, maker’s mark Concrete Jungle by Jonas Bohlin for Källemo AB Sweden Produced in 100 ex /100–100/100 No 27/100, height 39,5 cm, diameter 65 cm.

(d)

(d)

Estimate: SEK 75 000 – 100 000 / EUR 7 110 – 9 480

Estimate: SEK 12 000 – 15 000 / EUR 7 110 – 9 480

JOHN KANDELL The chair Solitär was the first chair designed by John Kandell for Källemo in 1985. The model was shown at the Stockholm furniture fair in 1986 and was then much debated and called the most idiosyncratic chair of the year. It was executed in mahogany and later in birch with leather seat. Borås city later ordered a chair in patinated bronze. According to Källemo this is one of only three chairs executed.

Solitär was the beginning of a lifelong friendship between John Kandell and Källemo’s director Sven Lundh. The duo had a great influence on Sweden’s design scene during the 1980s and 1990s. John Kandell is known for choosing his own path throughout his career. He was educated both as a designer and as a sculptor which influenced his approach and practice in furniture design. Solitär does in many ways represent the essence of Kandell’s playful and sculptural aesthetics. The Solitär chair is considered one of the most iconic swedish postmodern classics.

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

13. Olle Borg (Sweden, 1960–), a carpet, ‘Olleborg–2’, hand tufted, ca 220 x 160 cm, signed Olle Borg 5/10 at the back on one of the labels.

Made in collaboration with Asplund Art Rugs. Two labels at the back. (d)

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

14. Thomas Sandell (Sweden, 1964–), a ‘Dottie’ cabinet, ed. 5/10, Firma Svenskt Tenn, Sweden 2004.

Lacquered in white, decorated with multi coloured dots, base and handle in brass, signed Thomas Sandell V/X – 2004 – and stamped AB ERIKSSON & SÖNER MÖBELSNICKERI VRENA, height 124 cm, width 80 cm, depth 38 cm. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850

15. John Kandell (Sweden, 1925–1991), a patinated bronze ‘Solitär’ chair, Källemo, Sweden, ed. 3/7, only 3 chairs executed.

Maker’s marks: BRODALENS METALL GNOSJÖ – SWEDEN, JK 3/7 K. Height 88,5 cm, seat height 44,5 cm, width (the back) 59 cm, depth 44,5 cm. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

16. John Kandell (Sweden, 1925–1991), a wall cabinet, ‘Arkitektskåpet’, ed. 139/190, Källemo, Sweden, post 1989.

Red lacquered wood, one door with lock, maker's mark JK 139/190, height 55 cm, width 25 cm, depth 21 cm. (d)

Estimate: SEK 6 000 – 8 000 / EUR 570 – 760

17. Isamu Noguchi (USA, 1904–1998), an, ‘Akari 30N’ ceiling lamp/light sculpture, Ozeki & Co Japan, post 1969.

Rice paper on a frame of bamboo, three lamp sockets, height 160 cm, diameter ca 40 cm.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 950

18. Isamu Noguchi (USA, 1904–1998), a ‘Freeform sofa’ and ottoman, Vitra 2009/2019.

Organic shape, feet of stained maple, upholstered with two different hues of grey/black velvet, maker's mark Freeform Sofa Authorized Reedition 2002 Nr 0829 & Nr 1417 Vitra Design Museum 2009/2019, length 300 cm, height 72 cm, depth 130 cm, seat height 32 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

JOHN KANDELL The cabinet ‘Arkitektskåpet’ was based on Rolf Åsard’s scholarship, which was awarded

by Sveriges Arkitekter to a newly graduated interior designer. The scholarship sum of SEK 20,000 came from a fund that was built up by designers and artists designing cabinets that were sold to the members of the Swedish Association of Architects. The first cabinet was designed by John Kandell, since then Jonas Bohlin, Mikael Löfström, Hertha Hillfon, Mats Theselius and Ernst Billgren have each designed a cabinet. The fund was later closed down and the distribution of scholarships ceased in 2009. The cabinet in the auction is executed in a limited edition of 190 copies.

19. Akram Legrand, table lamp, modell ‘T33’, France, 21st Century.

Laser cut stainless steel, shades of convex plexiglass, maker's mark T33 Made in France, height 53 cm.

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

20. Jean–Michel Frank (France, 1895–1941), an ‘X Table’, Hermés, 21st century.

Base in solid black stained oak with iron rod and details, top veneered in black stained oak, height ca 74 cm, length 300 cm, width 105 cm.

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

21. Charles and Ray Eames (USA, 1907–1978), a ‘Lounge chair’ and ottoman, Vitra 1960–1970s.

Plywood with rosewood veneer, black leather, black and brushed steel base, height ca 80 cm, seat height 41 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 320 – 3 800

22. Achille Castiglioni (Italy, 1918–2002), & Pier Castiglioni, a table lamp, ‘Snoopy’, Flos, Italien, post 1967.

Base in Carrara marble, shade in lacquered metal and glass, maker’s mark Flos Snoopy Made in Italy, height ca 37 cm.

Estimate: SEK 4 000 – 6 000 / EUR 380 – 570

23. Achille Castiglioni (Italy, 1918–2002), & Pier Castiglioni, a ‘Taccia Dimmer Muvis’ table lamp, Flos, Italy post 1962.

Black aluminium base, adjustable glass shade with a white metal disc, maker’s label, height ca 53 cm.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 950

24. Vico Magistretti (Italy, 1920–2006), a ‘Veranda’, easy chair, Cassina, Italy, post 1983.

Black leather, foldable arm and foot rest, base in green lacquered metal, seat height 38 cm, height folded, 75 cm.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 950

25. Achille Castiglioni (Italy, 1918–2002), & Pier Castiglioni, a pair of ‘Toio’ floor lamps, Flos, Italy, post 1963.

Chrome plated and black lacquered steel, maker’s mark Flos, height ca 155 cm.

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

26. Gerhard Bartels (Belgium), a cabinet, De Coene Frères, Belgium, 1970s.

Black lacquered oak, two doors with geometrical details in relief, interior with drawers and shelves, internal lighting, height 100 cm, width 128 cm, depth 46 cm.

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

27. Preben Fabricius & Jørgen Kastholm (Denmark), a pair of easy chairs, model ‘710–10’, Walter Knoll.

Base in brushed steel, seat and back covered in black leather, one with maker's mark Walter Knoll Made in Germany, seat height 40 cm, height 73 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

FERNANDO & HUMBERTO CAMPANA The Campana brothers are known for their exclusive and expressive furniture. According to a statement, the Leather works series was created by chance. The Campana brothers had a minor gas explosion in their studio. The effect of the explosion was a studio full of scattered pieces of furniture materials, such as leather and textiles. When the studio was to be cleaned out, the brothers collected all the material and then got the inspiration for the series. The armchair is upholstered in more than 400 unique leather patches.

28. Carlo Nason (Italy, 1935–), an ‘LT 357 Moonbase’, table lamp, Mazzega, Italy, 1970s.

White glass with polished circles, height ca 18 cm, diameter ca 30 cm.

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

29. Eugenio Gerli (Italy, 1923–2013), a bar trolley, ‘Jamaica’, Tecno, Italy, 1960–70s.

Red and white lacquered plywood, wheels, interior in two floors, height 72,5 cm, length 88 cm, width 54 cm.

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

30. Charlotte Perriand (France, 1903–1999), a set of 3 wall appliques, ‘CP–1’, Paris, post 1967.

Metal, lacquered in white, red and black, maker's mark SCE Made in France, ground socket to the back, 16,5 x 12,5 cm, height 7 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

42. Verner Panton (Denmark, 1926–1998), a ‘Cloverleaf’ sofa, Verpan international, post 1969.

31. Angelo Lelli (Italy, 1911–1979), a floor lamp, model ‘14069’, Arredoluce, Italy, ca. 1969.

Base in Carrara marble, chrome plated steel, adjustable and magnetic light socket, maker's mark Made in Italy Arredoluce Monza, height 184 cm.

Literature: Anty Pansera, Arredoluce: Catalogue Raisonné 1943–1987, p. 251.

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

32. Ettore Sottsass (Italy, 1917–2007), a ‘Shiva’ pink glazed ceramic vase, B.D Barcelona, Spain post 1973.

Maker’s mark b.d E.SOTTSASS. Height 24,5 cm.

Estimate: SEK 4 000 – 5 000 / EUR 380 – 480

33. Frank Gehry (USA, 1929–), a ‘Wiggle side chair’, Vitra, post 1972.

Cardboard with paper edges, maker's mark Design Frank O. Gehry Vitra, height 85 cm, seat height 42–46 cm.

Estimate: SEK 6 000 – 8 000 / EUR 570 – 760

34. Fernando & Humberto Campana (Brazil, 1953–), an easy chair ‘Leather Works, LWK070’, Edra, Italy, post 2007.

35. A carpet, knotted and loomed, ca 328 x 347 cm.

More than 400 unique black leather patches, height 72 cm, seat height 40 cm.

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850

Cream coloured ground with an ivory border.

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

36. Angelo Mangiarotti (Italy, 1921–2012), an ‘Eros’, dining table, Agapecasa, Italy, post 2009.

Carrara marble, maker’s mark A. Mangiarotti, A (Agapecasa) 32577304, height 72 cm, the top 170 x 170 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

37. Mario Bellini (Italy, 1935–), ‘Vol au vent’, 8 chairs, Maxalto, B&B Italia, post 2001.

The whole chair covered and upholstered in a black alcantara textile, some with maker's mark, Mario Bellini Vol Au Vent B&B Italia, seat height 46 cm, height 83 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

38. Mario Bellini (Italy, 1935–), “Vol au vent”, 6 chairs, Maxalto, B&B Italia, post 2001.

The whole chair covered and upholstered in a black alcantara textile, some with maker's mark, Mario Bellini Vol Au Vent B&B Italia, seat height 46 cm, height 83 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

39. Studio Celli – Tognon, a table lamp ‘Leuke 2002’, Stilnovo, Italy, post 1971.

Chrome plated metal base, plexi glass shade, maker’s mark Stilnovo Made in Italy, height 43 cm.

Literature: Casa Amica 11 aprile 1971, p. 20.

Catalogo Stilnovo 40 (1977), p. 39.

Giuliana Gramigna, Repertorio 1950–2000, Allemandi, Torino, 2003, p. 209.

Stilnovo. Apparecchi per l'illuminazione, s.e, Milano.

Estimate: SEK 6 000 – 8 000 / EUR 570 – 760

40. Pietro Derossi & Giorgio Ceretti (Italy), a unique ceiling lamp, Italy 1980.

Stem in aluminum, 8 shades in pink acrylic, 32 light sockets, height ca 28 cm, the width of the shades ca 40 cm, diameter ca 260 cm.

Provenance: Specially ordered for a private collection in Turin, Italy.

Literature: Casa Vogue Italia, May 1982, nr 130.

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850 On view by appointment.

41. Keith Haring (USA, 1958–1990), & Toshiyuki Kita, a pair of table lamps / sculptures, Kreon, Germany, 1988.

Reverse printed glass, stone, aluminum edition of 2000. Printed signature and date K. Haring 88 T. Kita, height ca 53 cm, width ca 32 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

42. Verner Panton (Denmark, 1926–1998), a ‘Cloverleaf’ sofa, Verpan international, Denmark, post 1969.

Seat and back covered in turquoise and grey textile, three sections, maker’s mark Verner Panton Verpan. Total length ca 335 cm, depth ca 140 cm, height ca 84 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

43. Verner Panton (Denmark, 1926–1998), 4 ‘Bubble panels’, Lüber, Switzerland 1970s.

Red plastic with relief decoration, 60x60 cm.

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

44. Verner Panton (Denmark, 1926–1998), a ‘Pantonova’ dining table with 6 chairs, Fritz Hansen, Denmark, ca 1971.

Dining table model ‘102 G’ in chrome plated steel, smoke coloured glass top, height 70,5 cm, diameter 120 cm, the chairs model’102 S’ with textile seats, height 76 cm, seat height 41 cm.

Estimate: SEK 70 000 – 90 000 / EUR 6 640 – 8 530

45. Verner Panton (Denmark, 1926–1998), a lounge chair, ‘modell H’, system 1–2–3, Fritz Hansen, Denmark 1975.

Upholstered in the original Mira–lastic fabric, armrests and details in chrome plated tubular steel, height 110 cm, seat height 35 cm.

Provenance: The chair was part of the permanent interior at Haslund Interiør, which was a store specialized in Verner Panton products in Brønshøj outside Copenhagen in the 1970s and 80s.

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

46. Piet Hein Eek (the Netherlands, 1967–), a ‘Classic Scrapwood Cabinet’, Studio Piet Hein Eek, the Netherlands, post 1990.

Pine and scrapwood, top part with cabinet, bottom part with drawers, orange metal handles and hinges, height 215 cm, width 100 cm, depth 50 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

49. Camilla Wessman (Sweden, 1958–), a wall cabinet ‘Trofé’, Dux, Sweden 1990s.

Birch, black and white lacquered doors with a plexiglass dome, height 87,5 cm, width 65 cm.

Estimate: SEK 5 000 – 6 000 / EUR 480 – 570

47. Rody Graumans (Netherlands, 1968–), an ‘85 lamps’ ceiling lamp, Droog Design, Holland, post 1993.

Black cords and sockets, light bulbs, height 90 cm, diameter ca 60 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

48. A carpet, ‘Forrest’, Agra, hand knotted, ca 300 x 240 cm.

80% wool, 20% silk, knotted on cotton warp.

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

50. Mats Theselius (Sweden, 1956–), an ‘El Rey’ armchair, ed. 340/360, Källemo, Sweden post 1999.

Brass and black leather, signed el Rey by Mats Theselius 1999 Nr: 340/360 copies for Källemo, Sweden, seat height 31–36 cm. (d)

Estimate: SEK 75 000 – 100 000 / EUR 7 110 – 9 480

51. Mats Theselius (Sweden, 1956–), an ‘Inox’ armchair, ed. 12/199, for Källemo, Sweden post 2015.

Polished steel, white soaped oak and white nubuck leather, maker's mark Aluminium chair 25th Anniversary Inox no 12/199 Mats Theselius Källemo 2015, height 72,5 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

52. Robert Indiana (USA, 1928–2018), a carpet, ‘White on Black’, Chosen Love, hand tufted, ca 185 x 182 cm.

Cut decoration and signature in relief. A signed label is enclosed: numbered 98/300. The design LOVE was created by Robert Indiana in the 1960's.

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

50. Mats Theselius (Sweden, 1956–), an ‘El Rey’ armchair, ed. 340/360, Källemo, Sweden post 1999.

Left: 9. Mats Theselius (Sweden, 1956–), a cabinet ‘National Geographic, 25th Anniversary edition’, ed. 18/220, Källemo, Sweden, post 2015.

53. Philippe Starck (France, 1949–), ‘Petite Étrangeté Sous un Mur Vase’ sculpture/vase, ed. 42/50, Daum, Nancy, France, 1980s.

Clear and blue glass, signed Daum Starck 42/50, height 60 cm, width 40 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 760 – 950

54. Ron Arad (Israel, 1951–), a ‘Round Rail’ daybed, One Off Ltd. UK, post 1981.

Black/grey enamelled tubular steel, seat in galvanized steel, original mattress included, maker's mark OneOff London, height 47 cm, seat height without mattress 20 cm, length ca 201 cm, width 90 cm.

Provenance: Acquired directly from One Off Ltd. London, UK, in 1986. Copy of the original invoice included.

Literature: Collings, Matthew. & Arad, Ron, Ron Arad, Phaidon, London, 2003, p. 50 Sudjic, Deyan, Ron Arad: restless furniture, Rizzoli, New York, 1989, p. 44

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

55. Ron Arad (Israel, 1951–), a ‘Round Rail’ daybed, One Off Ltd. UK, post 1981.

Black/grey enamelled tubular steel, seat in galvanized steel, original mattress included, maker's mark OneOff London, height 47 cm, seat height without mattress 20 cm, length ca 201 cm, width 90 cm.

Provenance: Acquired directly from One Off Ltd. London, UK, in 1986. Copy of the original invoice included.

Literature: Collings, Matthew. & Arad, Ron, Ron Arad, Phaidon, London, 2003, p. 50.

Sudjic, Deyan, Ron Arad: restless furniture, Rizzoli, New York, 1989, p. 44.

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

56. Michel Mortier (France, 1925–2015), a ‘Tekel’, easy chair, Steiner, France 1960s.

Upholstered in a black wool textile, base in black lacquered wood, maker's mark Siége Steiner, seat height 30 cm, height 60 cm.

Literature: Patrick Favardin, Les décorateurs des années 50, Norma, 2002, p. 237.

Patrick Favardin, Steiner et l'aventure du design, Norma, 2007 p. 107.

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

57. Kwok Hoi Chan (Hong Kong), a ‘Limande’ easy chair, Steiner, France, 1960–70s.

Base in chrome plated tubular steel, brown leather seat, height 66 cm, seat height 34 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

58. Gunilla Lagerhem Ullberg (Sweden), a carpet, ‘Fogg multi’, hand tufted, Kasthall, ca 429 x 293 cm.

Made by Kasthall Ateljé.

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

59. Vico Magistretti (Italy, 1920 – 2006), a pair of ‘Atollo’, table lamps, Oluce, Italy, post 1977.

Opal glass, maker's mark Oluce Atollo, height 50 cm, diameter 38 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

60. Mats Theselius (Sweden, 1956–), a ‘Sheriff’ swivel chair, Källemo, Sweden post 2003.

Swivel base in black lacquered metal, seat in black leather, maker's mark, adjustable height max 87 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

61. Mats Theselius (Sweden, 1956–), a ‘The Ritz’ lounge chair, edition 18/90, Källemo Sweden, post 1994.

Black lacquered steel frame, the armrests with inlays of elk horn, upholstered in black leather, the back legs with wheels. Marked with metal plaque: THE RITZ Mats Theselius 1994 No 18/90 KÄLLEMO VÄRNAMO SWEDEN. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

C A R O L I N E S C H LY T E R Caroline Schlyter designed the ‘Little h’ chair in 1989. A total of 30 examples were made, the first 20 are signed and numbered.

The chair is made of a single piece of birch plywood. Schlyter’s goal was to create a clean, unbroken line and avoid joints and connecting details. In 1992, Schlyter was awarded Utmärkt Svensk Form (Excellent Swedish Form) for Little h. Her work is in several significant collections, including the National Museum, Stockholm, Sweden; Vitra Design Museum, Weil am Rhein, Germany; Design Museum, London, UK; and the V&A Museum of Childhood Victoria and Albert Museum, London, UK.

62. Mats Theselius (Sweden, 1956–), a ‘Theselius Rex’ easy chair, ed. 109/200 Källemo, Sweden post 1995.

Steel, metal plated frame, upholstered with black leather. Marked with metal plaque: THESELIUS REX Mats Theselius No 109/200 KÄLLEMO AB VÄRNAMO SWEDEN. Height 72 cm, seat height ca 38 cm, width 70 cm, depth ca 90 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

63. Mats Theselius (Sweden, 1956–), a ‘Theselius Rex’ easy chair, ed. 108/200, Källemo, Sweden, post 1995.

Steel, metal plated frame, upholstered with black leather. Marked with metal plaque: THESELIUS REX Mats Theselius No 108/200 KÄLLEMO AB VÄRNAMO SWEDEN. Height 72 cm, seat height ca 38 cm, width 70 cm, depth ca 90 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

64. Madeleine Pyk (Sweden, 1934–), & Per Baker, a table with a copper etching, 1960s and 21st century.

Base in steel, top with a copper plate with an etching by Madeleine Pyk, signed Per Baker, height 66 cm, the top 37 x 40 cm.

Provenance: Madeleine Pyk.

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

65. Eero Saarinen (Finland, 1910 – 1961), a ‘Tulip’, dining table, Knoll International, 2015.

Oval marble top, white lacquered base, maker's mark K(Knoll) Made in Italy, height 73 cm, length 245 cm, width 136 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

66. Fredrik Mattson (Sweden, 1973–), & Stefan Borselius, a set of 10 chairs, ‘Sting’, Blå Station, Sweden, post 2003.

Base in stainless steel, seat and back in green aluminum, maker's mark Fredrik Mattson Stefan Borselius Blå Station Åhus, height 81 cm, seat height 46 cm.

Exhibitions: This model is used at The Lincoln Center New York.

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

67. Johanna Lagercrantz (Sweden, 1960–), a ‘Parad’, cabinet , ed. 16/55, Lammhults Möbel AB, post 1989.

Green lacquered metal and glass, feet, handles and the middle shelf in cherry, four shelves in glass, signed Design Johanna Lagercrantz Lammhults 16/55, height 200 cm, width 74 cm, depth 37 cm.

Exhibitions: The model was shown at the exhibition ‘Skåp’ (Cabinets) at Millesgården, Stockholm 1992. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

68. Caroline Schlyter (Sweden), a chair, ‘Lilla h (Little h)’, ed. 18/20, Forsnäs, Sweden 1991.

Laminated birch, signed and dated XVIII/XX(18/20) Caroline Schlyter MCMXCI (1991), height ca 150 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

69. Gunnar Kanevad (Sweden, 1930 – 2019), a pine mirror, Linköping, Sweden, 1979.

Acid stained pine, jigsaw sculptured modules, signed Kanevad 1979, height 120 cm, width 60 cm.

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

70. Mats Theselius (Sweden, 1956–), a ‘Theselius Rex’ easy chair, ed. 143/200, Källemo, post 1995.

Steel, metal plated frame, upholstered with brown leather, maker's mark THESELIUS REX Mats Theselius No 143/200 KÄLLEMO AB VÄRNAMO SWEDEN, height ca 70 cm, seat height ca 41 cm. (d)

Estimate: SEK 50 000 – 75 000 / EUR 4 740 – 7 110

71. Mats Theselius (Sweden, 1956–), a ‘Theselius Rex’ easy chair, ed. 142/200, Källemo, post 1995.

72. Mats Theselius (Sweden, 1956–), a ‘Sheriff’ swivel chair, Källemo, Sweden post 2003.

Steel, metal plated frame, upholstered with brown leather, maker’s mark THESELIUS REX Mats Theselius No 142/200 KÄLLEMO AB VÄRNAMO SWEDEN, height ca 70 cm, seat height ca 41 cm.

Swivel base in black lacquered metal, seat in brown leather, maker’s mark, adjustable height max 87 cm.

(d)

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

Estimate: SEK 50 000 – 75 000 / EUR 4 740 – 7 110

Provenance: Madeleine Pyk, got this chair as a gift from Mats Theselius.

73. Ernst Billgren (Sweden, 1957–), a bench, ‘Tjyvar’, ed. 1/51, Sweden 2006.

Oak, details in glass mosaic, marked and numbered Ernst Billgren 1/51, height 44,5 cm, length 100 cm, width 40 cm.

Provenance: Galleri Lars Bohman, Stockholm, ‘Tjyvar’, 2 September–1 October 2006. Custom made for the exhibition. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

73A. Ernst Billgren (Sweden, 1957–), a bench, ‘Tjyvar’, ed. 33/51, Sweden 2006.

Oak, details in green glass mosaic, marked and numbered Ernst Billgren 33/51, height 44,5 cm, length 100 cm, width 40 cm.

Provenance: Galleri Lars Bohman, Stockholm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

FREDRIK PAULSEN The ’Röhsska’ chair is designed by the designer and artist Fredrik Paulsen in 2019 for Blå Station. The Röhsska Museum commissioned Fredrik Paulsen to interpret the notion of Democratic Design. He chose to design a chair for the purpose. The chair was shown in the exhibition ’Unmaking Democratic design: Fredrik Paulsen’ where the furniture was used to dismantle, disassemble and question the concept of democratic design. The Röhsska Chair, is a Swedish-made flatpack piece of furniture with a frame construction made of 150 years old beech from Skåne and with back and seat in pine plywood.

The two chairs in the auction are both the very first prototypes that were exhibited at the Salone del Mobile, Milan 2019.

74. Fredrik Paulsen (Sweden, 1980–), a ‘Röhsska’, chair, unique prototype, Blå Station, Sweden 2019.

Beech wood, seat and back in lacquered pine plywood, signed by Johan Lindau (Design manager at Blå Station) V1. 2019, height 83 cm, seat height 45 cm.

Provenance: Exhibited during Salone del Mobile, Milano 2019. (d)

Estimate: SEK 6 000 – 8 000 / EUR 570 – 760

76. Mats Theselius (Sweden, 1956–), a cabinet, ed. 5/50, from the serie ‘Körsbärstjuven’, Move, Sweden 21st century.

Handpainted alder, decorated with carved and coloured details with motif of a blackbird, espagnolette in patinated steel, glassed doors and sides, marked with label Mats Theselius Move 5/50, height 220 cm, width 88 cm, depth 42 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

75. Fredrik Paulsen (Sweden, 1980–), a ‘Röhsska’, chair, unique prototype, Blå Station, Sweden 2019.

Beech wood, seat and back in lacquered pine plywood, signed by Johan Lindau (Design manager at Blå Station) V1. 2019 and marked with a Blå Station label, height 83 cm, seat height 45 cm.

Provenance: Exhibited during Salone del Mobile, Milano, 2019. (d)

Estimate: SEK 6 000 – 8 000 / EUR 570 – 760

77. Mats Theselius (Sweden, 1956–), easy chair, ‘The Bamboo King’, ed. 53/360, Källemo, post 2000.

Base in black lacquered tubular steel, armrests winded with bamboo, seat and back upholstered and covered in black and grey textile, marked to the back The Bamboo King by Mats Theselius 2000, nr 53/360 for Källemo Sweden, height 73 cm, seat height 40 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

78. Sigurdur Gustafsson (Iceland, 1962–), a chair/sculpture, ‘Wind’, ed. 20/33, Källemo, Sweden, Post 2003.

Patinated metal, seat made in a patinated metal net, maker’s mark Wind by Sigurdur Gustavsson 2003 no 20/33 Källemo AB Sweden. Height 67, width 67, length 67 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

79. Claesson Koivisto Rune (Sweden, 1995–), a ‘Sfera Chair’, ed. 7/8, Sfera Japan, 2004.

Laser engraved hole leaf pattern in white lacquered stainless steel, chrome plated tubular steel legs, marked with label Sfera Chair 07 Design by Mårten Claesson Eero Koivisto Ola Rune, 65 x 51 cm, height 74 cm, seat height 45 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

79. Claesson Koivisto Rune (Sweden, 1995–), a ‘Sfera Chair’, Limited edition 7/8, Sfera Japan, 2004.

80. Gunilla Lagerhem Ullberg (Sweden), a runner, ‘Grace 650’, Kasthall, ca 392 x 88 cm.

Made by Kasthall Ateljé. Wool. An attached label at the back, No: 79955 Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

81. Jens Fager (Sweden, 1979–), a set of 9 ‘Raw’ armchairs for Muuto, Denmark, post 2008.

Red lacquered wood, shaped with a band saw, seat height 46 cm, height 77 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

82. Magniberg, (Sweden, 2016–), a ‘Horse’ easy chair, AB Eriksson & Söner, Vrena, Sweden, post 2016.

Pine lacquered in pink, maker’s mark MAGNIBERG AB Eriksson & Söner Vrena, height 80 cm, seat height 40 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

MAGNIBERG Magniberg is a brand with a multilateral approach based in Stockholm, Sweden. After careers in the fashion industry, founders Bengt Thornefors and Nina Norgren partnered to find a new expression, establishing Magniberg in 2016.

The brand is steeped in cultural references, imagination and emotional aesthetics. It is about craftsmanship, with an insistence on sourcing only the best-quality materials.

Crafted from solid Swedish pine, Horse is a brutal yet sensual armchair distinguished by its raw form. Horse is inspired by the contrasting ideals of ABC societal architecture and ‘Allmoge’ – a traditional Swedish peasantry genre of architecture used up until the 20th century.

BJÖRN FRIBORG Björn Friborg (b. 1983) is educated as a designer at The Royal Danish Academy of Fine Arts Schools of Architecture, and specialized in glass at Kosta Glass School and at Åfors Glasbruk. Friborg’s glass sculptures redefines the norms of glassmaking, pushing the material to its boundaries. With the implosion series he uses unconventional techniques to create an open core in the sculptures. Friborg also act Head of Holmegaard Glass Workshop.

83. Bjørn Friborg (Denmark, 1983–), a green tinted glass sculpture, ca 2019.

Height 45,5 cm.

Provenance: First Prize in Handelsbanken's works of art lottery, Spring 2021. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

84. Eddie Martinez (USA, 1977–), a pair of plates, ‘Untitled’ ed. 250, Prospect, 2020.

Porcelain with a printed motif, printed signature and edition 250, custom artist box with printed signature included, diameter 26,7 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 760 – 950

85. Charles and Ray Eames (USA, 1907–1978), an armchair and ottoman, Aluminium group model ‘EA 316’, Vitra, 21st century.

Polished aluminium and black leather, maker’s mark Vitra, height 98 cm, seat height 30–39 cm, height of the stool 38 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

86. Charles and Ray Eames (USA, 1907–1978), an armchair and ottoman, Aluminium group model ‘EA 316’, Vitra, 21st century.

Polished aluminium and black leather, maker's mark Vitra, height 98 cm, seat height 30–39 cm, height of the stool 38 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

87. Joakim Lundqvist (Sweden), a carpet, ‘Rya special’ hand tufted, Kasthall/Linum, ca 297 x 197 cm.

Made by Kasthall Ateljé for Linum. Wool. Glued on labels at the back, No: 363803 Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

88. Olle Baertling (Sweden, 1911–1981), a carpet, ‘Yoy’, hand tufted, Baertling/Asplund, ca 198 x 103 cm.

89. Olle Baertling (Sweden, 1911–1981), a carpet, ‘Eray’, Hand tufted. Baertling/Asplund, ca 199,5 x 101 cm.

Made for Asplund Carpets after a painting by Olle Baertling in connection with the Baertling Foundation. Tufted in India around 1999 in 50 examples. A sewn on label at the back.

Made for Asplund Carpets after a painting by Olle Baertling in connection with the Baertling Foundation. Tufted in India around 1999 in 50 examples. A sewn on label at the back.

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

90. Michel Ducaroy (France, 1925–2009), a ‘Togo’ sofa and a pair of easy chairs, Ligne Roset, France.

Upholstered in a black alcantara fabric, maker's mark Ligne Roset Made in France, height ca 70 cm, width of the sofa ca 130 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

91. Poul Kjaerholm (Denmark, 1929–1980), a Hammock chair, ‘PK–24’ for Fritz Hansen, Denmark 1999.

Seat in rattan, base in brushed steel, neck cushion in black leather, marked with label Fritz Hansen 1999, adjustable height ca 90 cm, length ca 150 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

92. Arnt Lande (Norway, 1920 – 2005), attributed to, a pair of model ‘Senior’ easy chairs, Møller & Stokke, Norway 1950–60s.

Upholstered in sheepskin, armrests in teak, feet in beech and brass, height 73 cm.

Literature: Compare pictures of the sofa in product catalogue from the 1950s.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

93. Kurt Beier (Germany), a ‘Fantasy islands’ sofa, Germany 1980s.

Base in beech, seat in leather, backrest i metal, maker's mark Fantasy Island, height 67 cm, width 153 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

94. Hans Hammarskiöld (Sweden, 1925–2012), ‘Spanska ridskolan’, 1952.

Signed Hans Hammarskiöld and numbered 93/100 verso. Dedication verso dated 13.8.94. Gelatin silver print, image 19 x 26.5 cm. Sheet 23.5 x 30 cm.

Literature: Kurt Mälarstedt, ‘Foto Hammarskiöld – Tiden och ljuset’, 2008, illustrated on fullpage p. 48–49. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 850 – 3 320

95. Christer Strömholm (Sweden, 1918–2002), ‘Palma’, 1959.

Signed CHR and with fingerprint. Also signed CHR Strömholm and titled verso.

Gelatin silver print laid down on cardboard, image 23.5 x 30.5 cm. Sheet 49.7 x39.7 cm.

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

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

96. Emil Heilborn (Sweden, 1900–2003), ‘Soldyrkaren/Solrökaren’, 1938.

Signed Emil Heilborn verso. Gelatin silver print, image 32 x 22.5 cm. Sheet 40.2 x 30.2 cm.

Literature: Petter Österlund (ed.), ‘Emil Heilborn’, 2003, illustrated on full page p. 71. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

97. Dawid (Björn Dawidsson) (Sweden, 1949–), ‘2679’, 1986.

From the series ROST. Signed verso. Unique. Executed in 1987. Vintage. Gelatin silver print, image 24.5 x 19.5 cm. Including the artist's frame 52.7 x 42.5 x 5 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

98. Lennart Olson (Sweden, 1925–2010), ‘Tre Tjörnbroar’, 1961.

Signed Lennart Olson. Also signed and dated 1976 verso. Gelatin silver print, image 16.5 x 36.5 cm. Sheet 50.5 x 40.3 cm.

Provenance: Acquired directly from the photographer by the present owner.

Literature: Lennart Olson, ‘Lennart Olson. Fotografier’, 1989, illustrated. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

99. Sune Jonsson (Sweden, 1930–2009), ‘Kammarinteriör hos änkefru Jenny Edström, Hökmark, Lövånger socken’, 1960.

From the series ‘Bilder av Nådens barn’. Signed Sune Jonsson verso.

Gelatin silver print, image 26 x 28 cm.

Literature: Sune Jonsson, ‘Bilder av Nådens barn’, 1963, illustrated p. 93. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

100. Anders Kristensson (Sweden, 1958–), ‘Familjen Mattsson utanför B&W Göteborg 1992’.

Signed Anders Kristensson on the certificate. Edition 1/10 + 4 AP. Pigment print, image 50 x 40 cm.

Exhibitions: Another example exhibited at Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, Karin and Lars Hall Collection, 16 June – 19 August 2001. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

101. Anders Kristensson (Sweden, 1958–), ‘Raggare efter fest hos Roadrunners Göteborg 1991’.

Signed Anders Kristensson on the certificate. Edition 1/10 + 4 AP. Pigment print, image 50 x 40 cm.

Exhibitions: Another example exhibited at Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, Karin and Lars Hall Collection, 16 June – 19 August 2001. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

102. Dawid (Björn Dawidsson) (Sweden, 1949–), ‘#9771’, 1991.

Signed Dawid and dated 91 verso. Vintage. Unique. Chemigraph, image 30 x 24 cm.

Including the artist's frame 62 x 52 cm.

Provenance: Galleri Skarstedt, Stockholm.

Private Collection, Sweden.

Exhibitions: Liljevalchs Konsthall, Stockholm, ‘Hybris’, 12 April – 25 May 2008.

Galleri Skarstedt, Stockholm, ‘Dawid’, 28 February – 28 March 2004.

Literature: Dawid and Steven Henry Madoff, ‘Dawid: This is a Photograph’, 2015, illustrated on full page p. 256.

Liljevalchs Konsthall, Stockholm, ‘Hybris’, 2008, illustrated. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

103. Charlotte Gyllenhammar (Sweden, 1963–), ‘Hang #VI’, 2006.

Signed Charlotte Gyllenhammar and numbered 5/5 on label verso.

Total edition of 5 + 2 AP. C–print mounted to glass 120 x 139 cm.

Provenance: Christian Larsen Gallery, Stockholm. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

104. Maria Friberg (Sweden, 1966–), ‘Still lives #9’, 2006.

Signed Maria Friberg and numbered 1/2 AP. Total edition of 6 + 2 AP. Cibachrome mounted to wooden board 105 x 65 cm.

Literature: Maria Friberg, ‘Maria Friberg’, 2008, illustrated p. 17. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

105. Klara Lidén (Sweden, 1979–), 'Self Portrait with the Keyes to the City', 2005.

Signed certificate issued in 2013 accompanies the work.

Edition 4/10 + 1 AP. C–print, image 60.5 x 42 cm.

Provenance: Galerie Neu, Berlin.

Exhibitions: Galerie Neu, Berlin, 2015.

Literature: Sophie Allgårdh, ‘Passioner och bestyr – svensk konst på 2000–talet’, SAK yearbook 2011 publication no 120, 2011, illustrated on full page p. 149. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

106. Yves Marchand & Romain Meffre (France), ‘Ballroom, Lee Plaza Hotel, Detroit’, 2006.

Signed Marchand and Meffre on label verso. Edition 1/6. Printed in 2010. C–print mounted to aluminum and framed, image 150 x 190 cm.

Provenance: Gun Gallery, Stockholm.

Literature: Yves Marchand and Romain Meffre e.a, ‘The Ruins of Detroit’, 2010, illustrated on full page p. 195.

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

107. Helena Blomqvist (Sweden, 1975–), ‘The Arrival’, 2013.

From the ‘Slumberland’ suite. Signed Helena Blomqvist and numbered 1/6 on label verso. Pigment print, image 85 x 110 cm. Including frame 107 x 132 cm.

Literature: Helena Blomqvist and Joanna Persman, ‘Florentine’, 2016, illustrated on full page. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

108. Hasse Persson (Sweden, 1942–), ‘New York, Studio 54’, 1979.

Signed Hasse Persson and numbered 8/12. Gelatin silver print, image 45 x 30 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

109. Mikael Jansson (Sweden, 1958–), ‘Iggy Pop #3, Miami Studio’, 2010.

Signed Mikael Jansson and dated 2012 and numbered 3/5 verso. Gelatin silver print mounted to aluminum and framed 144.5 x 214.5 cm including frame.

Provenance: Gun Gallery, Stockholm. (d)

Estimate: SEK 200 000 – 250 000 / EUR 18 960 – 23 700

110. Herb Ritts (USA, 1952–2002), ‘Madonna, Tokyo 1987’.

Signed Herb Ritts and numbered 20/25 verso. Gelatin silver print, image 45.5 x 38 cm.

Provenance: Bukowski Auktioner, Stockholm, Contemporary & Design 558, 2010, Cat. No. 122.

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

111. Anton Corbijn (Netherlands, 1955–), ‘Gary Lucas, New York, 1990’.

Signed Anton Corbijn and numbered 7/20. Lithprint, image 46 x 45 cm.

Provenance: Galleri Magnus Åklundh, Malmö. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

112. Blaise Reutersward (Sweden, 1961–), ‘Gudhjem, 2012’.

Signed BLAISE REUTERSWARD and numbered 3/5 verso. Total edition of 5 + 2 AP. C–print diasec mounted and framed, 184 x 226 cm including frame.

Provenance: Galleri Mårtensson & Persson, Stockholm.

Exhibitions: Galleri Mårtensson & Persson, Stockholm, ‘Gudhjem’, 2012. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

113. Blaise Reutersward (Sweden, 1961–), ‘Aktstudie 002’, 2012.

From the series ‘Gudhjem’, 2012. Signed BLAISE REUTERSWARD and numbered 1/5 verso. Total edition of 5 + 2 AP. Analogue C–print diasec mounted to acrylic glass and framed 185 x 145 cm including frame.

Provenance: Galleri Mårtensson & Persson, Stockholm.

Exhibitions: Galleri Mårtensson & Persson, Stockholm, ‘Gudhjem’, 2012. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

114. Blaise Reutersward (Sweden, 1961–), ‘Aktstudie 001’, 2012.

From the series ‘Gudhjem’, 2012. Signed BLAISE REUTERSWARD and numbered 1/5 verso. Total edition 5 + 2 AP. Analogue C–print diasec mounted to acrylic glass and framed 185 x 145 cm including frame.

Provenance: Galleri Mårtensson & Persson, Stockholm.

Exhibitions: Galleri Mårtensson & Persson, Stockholm, ‘Gudhjem’, 2012. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

115. Terry O'Neill (Great Britain, 1938–2019), ‘Brigitte Bardot, Spain, 1971’.

Signed Terry O'Neill and numbered AP. Total edition of 50 + 10 AP. Gelatin silver print, image 71.5 x 55.5 cm.

Provenance: The Photogallery, Halmstad.

Literature: Terry O'Neill, ‘Terry O'Neill: The A–Z of Fame’, 2013, illustrated on cover and on full page p. 21. (d)

Estimate: SEK 175 000 – 200 000 / EUR 16 590 – 18 960

116. Luis Gispert (USA, 1972–), ‘DC 3’, 2010.

Signed Luis Gispert and numbered AP 1 verso. Total edition 6 + 2 AP. C–print mounted to dibond and acrylic glass 121.5 x 190 cm.

Provenance: Acquired from the artist.

Private Collection, Stockholm.

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

117. Terry O'Neill (Great Britain, 1938–2019), ‘Sean Connery, Las Vegas, 1971’.

Signed Terry O'Neill and numbered 15/50. Gelatin silver print, image 45 x 30 cm.

Literature: Terry O'Neill, ‘Terry O'Neill: The A–Z of Fame’, 2013, illustrated on full page p. 80. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 320 – 3 800

118. Masayoshi Sukita (Japan, 1938–), ‘Keep Your 'Lectric Eye,’ 1973.

Signed Sukita and numbered 20/30. Pigment print, image 37.5 x 36 cm.

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

119. Torbjörn Calvero (Sweden, 1949–2016), ‘Jimmy Page – Led Zeppelin, Earl's Court, London 23 maj 1975’.

Stamped by the Calvero Estate verso. Edition 4/9 + 2 AP. Gelatin silver print mounted to dibond and framed, image 177.5 x 122.5 cm.

Literature: Torbjörn Calvero and Christer Olsson, ‘Från Abba till Zeppelin. Calveros 70–tal’, illustrated on spread. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

120. Leif–Erik Nygårds (Sweden, 1939–), 'Marilyn Monroe photographed in Los Angeles at Bel Air Hotel, June 27th 1962'.

Signed Leif–Erik Nygårds and numbered 10/40 verso. Inkjet print, image 36 x 54 cm. Sheet 42 x 59.5 cm. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 740 – 6 640

121. Mikael Jansson (Sweden, 1958–), ‘Monza #9’, 2003.

From the series ‘Speed of Life’. Signed Mikael Jansson and dated 2017 and numbered 2/3 on label verso. C–print silicone mounted to acrylic glass 100 x 150 cm.

Provenance: CF Hill, Stockholm. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 480 – 14 220

122. The Ultravelvet Collection(USA), ‘In Kiss We Trust’, 2011.

Signed by Eric Hajjar & Meredith Rose (The Ultravelvet Collection) on label verso. Edition of 3/3. Certificate issued by Guy Hepner Contemporary in 2011 accompanies the work. Digital lambda print 160 x 121.5 cm.

Provenance: Guy Hepner, Hollywood.

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

123. Helmut Newton (USA, 1920–2004), ‘SUMO’, 1999.

Signed Helmut Newton and numbered 00322/10.000. Total edition of 10.000 + 200 AP. Book published by Taschen, Monte Carlo, 1999, 71 x 51 cm. With a metal table designed by Phillippe Starck and original cardboard box from Taschen.

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

124. Jean Hermanson (Sweden, 1938–), ‘Stämpelklocka, Motala Verkstad’, 1969.

Printed later by Nils Petter Löfstedt. Numbered 2/9 + 2 AP and stamped Landskrona Foto verso. Certificate accompanies the work. Digital print, image 76 x 55 cm.

Provenance: Fabriken Bästekille, Kivik.

Literature: Folke Isaksson and Jean Hermanson, ‘Nere på verkstadsgolvet’, 1971, illustrated.

Jean Hermanson e.a, ‘Fotografier’, 2005, illustrated on full page p. 53.

Estelle af Malmborg (ed.), ‘Contemporary Swedish Photography’, 2012, illustrated full page p. 81.

Arvidsson, Wolthers, Östlind, ‘Mellan verkligheter: Fotografi i Sverige 1970–2000’, 2014, on full page p. 131.

Nils Petter Löfstedt, ‘Himlens Mörkrum’, 2017, illustrated p. 79. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

125. Jean Hermanson (Sweden, 1938–), ‘Pressoperatör, SKF, Göteborg’, 1969–1971.

Printed later by Nils Petter Löfstedt. Numbered 4/9 + 2 AP and stamped Landskrona Foto verso. Certificate accompanies the work. Digital print, image 76 x 55 cm.

Provenance: Fabriken Bästekille, Kivik.

Literature: Arvidsson, Wolthers, Östlind, ‘Mellan verkligheter: Fotografi i Sverige 1970–2000’, 2014, illustrated on the back of the cover and on full page p. 131. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

126. Christer Strömholm (Sweden, 1918–2002), Self Portrait, 1975–76.

Signed CHR and with finger print verso. Gelatin silver print, image 45 x 34.5 cm.

Sheet 50 x 40.5 cm.

Provenance: Galerie Rudolf Kicken, Cologne, Germany. Acquired in 1993.

Bukowski Auktioner, Literature: Camera Obscura, ‘Christer Strömholm. Privata bilder’, 1978, illustrated on the cover.

Joakim and Jakob Strömholm and Jan Åman, ‘Christer Strömholm 1918–2002. On verra bien’, 2002, illustrated on p. 140.

Gösta Flemming, Lars Hall e.a, ‘Christer Strömholm. In Memory of Himself’, 2006, illustrated on the cover. Also compare image at p. 130.

Arvidsson, Wolthers, Östlind, ‘Mellan verkligheter: Fotografi i Sverige 1970–2000’, 2014, illustrated on p. 96-97. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

127. Gunnar Smoliansky (Sweden, 1933–2019), ‘Slussen’, 1952.

Signed Gunnar Smoliansky and dated 2014 verso. Printed by the photographer.

Gelatin silver print, image 26.5 x 26 cm.

Literature: Gunnar Smoliansky, Hans Henrik Brummer and Carl Johan Malmberg, ‘Gunnar Smolianskys fotografier från Slussen i Stockholm 1952’, 2002, illustrated. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

128. Gunnar Smoliansky (Sweden, 1933–2019), ‘Slussen’, 1952.

Signed Gunnar Smoliansky verso. Printed by the photographer circa 2016.

Gelatin silver print, image 19 x 19 cm.

Literature: Gunnar Smoliansky, Hans Henrik Brummer and Carl Johan Malmberg, ‘Gunnar Smolianskys fotografier från Slussen i Stockholm 1952’, 2002, illustrated. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

129. Pål Nils Nilsson (Sweden, 1929–2002), ‘Dansbanan, Gröna Lund’, 1954.

Signed Pål Nils Nilsson. Gelatin silver print, image 29 x 21.5 cm.

Sheet 30.7 x 23.7 cm. (d)

Estimate: SEK 6 000 – 8 000 / EUR 570 – 760

PHILIP–LORCA DICORCIA During the years 1990–1992 Philip–Lorca DiCorcia created a series of photographs of male prostitutes in Los Angeles. He found his models in the area around Santa Monica Boulevard in West Hollywood. The titles of the works reflect the model's name, origin and the amount they received for the photography, which is also the amount they charge for their most common sexual services.

Genre–wise DiCorcia's images are in the borderlands between street photography and conceptual photography. They capture reality and life on the streets while being staged and sophisticatedly lit. He asked the models to pose in a pre–selected location, a motel room, a parking lot or a fast food restaurant. The photographs have a cinematic quality to them and resemble filmstills.

In 1993, 21 works from the series were shown under the name ‘Strangers’ at the Museum of Modern Art in New York in DiCorcia's very first museum exhibition. The series was later named ‘Hustlers’ because it better described the models.

The series provides a melancholy are at the same time a defiant image of the dark side of the American dream and the tragic lives of individuals.

Philip–Lorca diCorcia defines a type of cinematic photography that became trendsetting in the early 1990s where photographers such as Wim Wenders, Gregory Crewdson and Nan Goldin were also significant.

‘Marilyn, 28 years old, Las Vegas, Nevada, $ 30’ is one of diCorcia's most famous motifs and can be found in prominent museum collections around the world, such as the Museum of Modern Art in New York, the San Francisco Museum of Modern Art and Museum Helmond, Netherlands.

181. Philip–Lorca diCorcia (USA, 1953–), ‘Marilyn, 28 years old, Las Vegas, Nevada, 30 $’, 1990–1992.

From ‘the Hustlers Series’, 1990–1992. Signed Philip–Lorca diCorcia verso.

Edition of 20. C–print, image 64 x 95 cm.

Estimate: SEK 200 000 – 250 000 / EUR 18 960 – 23 700

DENISE GRÜNSTEIN In the 1980s Denise Grünstein became famous for her photographic portraits of cultural figures for magazines such as Elle and Månadsjournalen. She started styling her subjects to highlight other aspects of the celebrities, like a kind of artistic dimension to the classic commission portrait. Due to her great skill, she ended up getting so many assignments that she eventually tired of faces and chose to go in a different direction photographically. Her work often shows landscapes with women in different positions and situations, preferably hidden or turned away from the camera. It is the composition that comes first and foremost for Grünstein, to try an idea and see if it is aesthetically pleasing, photography is really something she does to perpetuate the composition. Grünstein prefers to use natural light and is known for her soft images.

In working with the series ‘Figure Out’ from 2009, however, she had to challenge herself. The series refers to an art–historically charged landscape, the sea and the beaches on Skagen, motifs that have historically been seen in works of the most well–known Scandinavian male painters.

‘–We went down to some beaches that I imagined would be foggy and romantic, but the sunlight was bright and the skies were bright blue skies – some kind of ‘package holiday vibe’. I encountered a light that I would never use but needed to make mine. And it was interesting. It was needed – I felt that I couldn't always just keep doing my foggy landscapes. This straight hard light was very exciting for me, but I would never have been able to invent it myself. Then I would have just said ‘wow, no, never in my life’.

In Figure Out's surrealist dreamlike stagings, the viewer encounters a character who hides in hair in an enigmatic and elusive way. Hair in front of their face, lying on a table, locks of hair cut off, but all sunlit and surrealistically playful. Grünstein was using a traditional large format camera and negative color film to achieve maximum detail.

The exhibition ‘Figure Out’ was first shown at Galleri Charlotte Lund in Stockholm in 2009. The exhibition consisted of ten large–scale color photographs as well as the video work ‘All flesh is grass’ which also was on the same hair theme. In the work ‘Head Hunter’ we see the performance artist Marta Oldenburg, the model that Denise Grünstein now has collaborated with for over 20 years time. She is resting her neck on a kind of steel tool that was used when cameras were light–sensitive and demanded a long exposure time.

Denise Grünstein’s photographs can be found in the collections of, among others, Nationalmuseum and Moderna Museet, Stockholm, KIASMA in Helsinki, Artipelag, Stockholm and Museet for Samtidskunst, Oslo.

Quote Kamera & Bild, Elin Parmhed, September 2013.

130. Denise Grünstein, ‘Head Hunter’, 2009.

Signed Denise Grünstein and dated 2012 and numbered 3/3 verso.

Total edition of 3 + 1 AP. C–print, 122 x 152 cm including frame. (d) Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

130. Denise Grünstein (Sweden, 1950–), ‘Head Hunter’, 2009.

Signed Denise Grünstein and dated 2012 and numbered 3/3 verso.

Total edition of 3 + 1 AP. C–print, 122 x 152 cm including frame.

Provenance: Galleri Charlotte Lund, Stockholm.

Exhibitions: Another example exhibited: Galleri Charlotte Lund, Stockholm, ‘Figure out’, 10 October – 21 November 2009.

Kristinehamns Konstmuseum, ‘Figure Out’, 30 January – 28 March 2010.

Museet för Nutidskonst Kiasma, Helsingfors, ‘Denise Grünstein; Figure Out’, 29 April – 15 August 2010 Mjellby Konstmuseum, Halmstad, ‘Figure In’, 28 September 2013 - 5 January 2014.

Konstakademien via Nationalmuseum, ‘Denise Grünstein - En Face’, 19 February – 3 May 2015.

Literature: Bo Nilsson and Arja Miller e.a, ‘Denise Grünstein; Figure Out’, 2010, illustrated on the cover. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

131. Miriam Bäckström (Sweden, 1967–), ‘Apartments’, 2001.

Signed Miriam Bäckström and numbered 3/3 on label verso.

Cibachrome, image 31 x 40 cm.

Provenance: Nils Staerk, Köpenhamn.

Nordea Bank Norge Kunstsamling, Oslo.

Stockholms Auktionsverk, 4 May 2011.

Private Collection, Sweden. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

132. Miriam Bäckström (Sweden, 1967–), ‘Apartments’, 2001.

Signed Miriam Bäckström and numbered 3/3 on label verso. Cibachrome, image 31 x 40 cm.

Provenance: Nils Staerk, Köpenhamn.

Nordea Bank Norge Kunstsamling, Oslo.

Stockholms Auktionsverk, 4 May 2011.

Private Collection, Sweden. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

133. Ebba Matz (Sweden, 1963–), ‘Levitation’, 2000.

Signed Ebba Matz and numbered 5/10 verso. C–print mounted to glass 39 x 53.5 cm. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850

134. Anders Krisár (Sweden, 1973–), ‘Janus (3)’, 2006.

Signed Krisár and numbered 1/3 verso. C–print, mounted to aluminum and framed 145 x 184 cm including frame.

Literature: Anders Krisar, ‘Anders Krisar’, 2011, illustrated on full page p. 151. (d)

Estimate: SEK 70 000 – 80 000 / EUR 6 640 – 7 590

135. Per Wizén (Sweden, 1966–), From the series ‘Reworkings’, 1998.

Signed Per Wizén and dated 1998 and numbered 1/3 verso.

Cibachrome mounted to aluminum 125 x 152 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

136. Juan Pedro Fabra Guemberena (Sweden, 1971–), Utan titel, 2003.

Signed Fabra and dated 2003 verso. From an edition of 3.

C–print mounted to aluminum 124 x 123 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

137. Anders Krisár (Sweden, 1973–), ‘Mist Mother’, 2006.

Signed Krisár and dated 2006 and numbered 4/6 verso.

C–print mounted to aluminum 50 x 40 cm.

Provenance: Galleri Mia Sundberg, Stockholm.

Exhibitions: Anders Krisár, "Anders Krisár", 2011, illustrated on full page p. 143. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850

138. Anders Krisár (Sweden, 1973–), ‘Fog Father’, 2006.

Signed Krisár and dated 2006 and numbered 1/6 verso.

C–print mounted to glass 50 x 40 cm.

Provenance: Galleri Mia Sundberg, Stockholm.

Exhibitions: Anders Krisár, "Anders Krisár", 2011, illustrated on full page p. 145. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850

139. Maria Friberg (Sweden, 1966–), ‘Embedded #2’, 2006.

Signed Maria Friberg and numbered 1/5 verso. C–print silicone mounted to glass 98 x 146 cm.

Exhibitions: Connersmith, Washington D.C, ‘Maria Friberg: Embedded’, 12 January – 24 February 2007, another example exhibited.

Literature: Maria Friberg, ‘Maria Friberg’, 2008, illustrated p. 13. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

140. Nygårds Karin Bengtsson (Sweden, 1972–) ‘Other Stories’, 2016.

Signed Nygårds Karin Bengtsson and numbered 2/5 + 2 AP verso.

Signed certificate accompanies the work. C-print silicone mounted t o aluminum and glass 145 x 176 cm.

Provenance: Galleri Thomas Wallner, Simris, Sweden. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

141. Annika von Hausswolff (Sweden, 1967–), ‘Still life (John and Jane Doe in the arena)’, 1995.

Signed Annika von Hausswolff and numbered 4/5 verso.

C–print mounted to mdf 50 x 60 cm.

Exhibitions: Another example exhibited at: Moderna Museet, Stockholm, ‘Annika Elisabeth von Hausswolff – Alternativ sekretess’, 23 October 2021–20 February 2022.

Literature: Bohusläns Konstmuseum, ‘Processer’, 1995, illustrated on p. 12–13.

XXIII Bienal de São Paulo ‘Annika von Hausswolff’, 1996, illustrated on p. 29.

Liechtensteinische Staatliche Kunstsammlung, ‘Come Closer’, 1998, illustrated on p. 69.

The Nordic Pavillion la Biennale di Venezia, ‘End of Story’, 1999, illustrated on p. 17.

Bildmuseet Umeå, ‘Annika von Hausswolff’, 1999, illustrated on p. 15.

Musée d’art Moderne de la ville de Paris, ‘L’Autre Sommeil”, 1999–2000, illustrated on p. 14–15.

Moderna Museet and Annika von Hausswolff, ‘Annika Elisabeth von Hausswolff’, 2021, illustrated on full page p. 141. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

142. Luis Gispert (USA, 1972–), ‘Knight Rider’, 2008.

Signed Luis Gispert and numbered 6/6 verso. C–print 117 x 211.5 cm including frame.

Provenance: Stefan Lundgren Gallery, Mallorca.

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

143. David LaChapelle (USA, 1963–), ‘Negative Currency: 10 Yuan used as Negative’, 2010.

Signed David LaChapelle and dated New York 2012 and numbered 4/5 on a label accompanying the work.

Chromogenic print mounted to acrylic glass and framed 81 x 164 cm including frame.

Provenance: David LaChapelle Studio, New York.

Estimate: SEK 200 000 – 250 000 / EUR 18 960 – 23 700

144. Jacob Felländer (Sweden, 1974–), From the series ‘I Want to Live Close to You’, 2011.

Signed Jacob Felländer verso. Presumably unique. C-print mounted to glass 48 x 108 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

145. Torbjörn Calvero (Sweden, 1949–2016), ‘Mick Jagger’, 1976.

Signed Calvero and numbered 4/5. Pigment print 60 x 47.5 cm.

Literature: Torbjörn Calvero and Christer Olsson, ‘Från Abba till Zeppelin.

Calveros 70–tal’, illustrated on full page p. 81. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

146. Anton Corbijn (Netherlands, 1955–), ‘Peter Gabriel, Box, 1999’.

Signed Anton Corbijn on label verso. Edition 4/8. C–print, perspex, dibond 124 x 190.5 cm.

Provenance: Torch, Amsterdam.

Literature: Bernd Skupin, ‘Anton Corbijn Werk’, 2000, illustrated on full page p. 104. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

147. Anton Corbijn (Netherlands, 1955–), ‘Bryan Ferry, Miami, 1992’.

Signed and numbered 7/20 on the mount. Lithprint, image 46 x 45 cm.

Provenance: Galleri Magnus Åklundh, Malmö.

Literature: Bernd Skupin, ‘Anton Corbijn Werk’, 2000, illustrated on p. 88. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850

148. Susanna Hesselberg (Sweden, 1967–), Untitled, 1998.

Signed Susanna Hesselberg and numbered 4/5 on label verso. C–print, image 70 x 67 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

149. Tuija Lindström (Finland, 1950–2017), ‘Maria with a log’, 1992.

From the series ‘The Girls at Bull's Pond’. Signed Tuija Lindström verso. Presumably an AP from an edition of 5. Gelatin silver print including iron frame 61 x 61 cm.

Provenance: Acquired directly from the artist.

Bukowski Auktioner, Moderna Höstauktionen, November 2002.

Private Collection, Stockholm.

Exhibitions: Göteborgs Konstmuseum, 1992, illustrated in the exhibition catalogue.

Galleri Index, Stockholm, 1992.

Literature: Mårten Castenfors,’I Modernismens Kölvatten’, SAK, illustrated on p. 165. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

150. Klara Lidén (Sweden, 1979–), ‘Untitled (Dumpster 13)’, 2011.

Numbered 2/3 on label verso. Total edition of 3 + 2 AP. Inkjet print, 70 x 100 cm.

Provenance: Galerie Neu, Berlin. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

151. Dawid (Björn Dawidsson), (Sweden, 1949–), ‘#2705’, 1987.

From the series ‘p’. Signed verso. Vintage. Gelatin silver print, image 24 x 19 cm. Including the artist's frame 45.5 x 38 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

152. Helena Blomqvist (Sweden, 1975–), ‘Warm June’, 2011.

Signed Helena Blomqvist and numbered AP 2 on label verso. Total edition of 6 + 2 AP. C–print 90 x 111 cm including frame.

Literature: Helena Blomqvist, ‘Helena Blomqvist’, 2012, illustrated on full page. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 740 – 6 640

153. Jan Svenungsson (Sweden, 1961–), ‘Torn 6’, 1991.

Signed Svenungsson and dated 1991 verso. Gelatin silver print 265 x 67 cm including the artist's frame. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

154. Lars Tunbjörk (Sweden, 1956–2015), ‘Midsommar i Rättvik’, 1988.

Signed Lars Tunbjörk with dedication. A polaroid depicting Tunbjörk accompanies the work. C–print, image 36.2 x 45 cm.

Provenance: Directly from the photographer to the present owner.

Literature: Lars Tunbjörk e.a, ‘Landet utom sig’, 1993, illustrated on full page pl. 35. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 320 – 3 800

155. Gunnar Smoliansky (Sweden, 1933–2019), ‘24 juni 1979’.

156. Gunnar Smoliansky (Sweden, 1933–2019), ‘Hemma 16 juni 1979’.

Signed Gunnar Smoliansky verso. Vintage. Gelatin silver print, image 9.5 x 6 cm. Sheet 11.5 x 7 cm.

Signed Gunnar Smoliansky verso. Vintage. Gelatin silver print, image 9 x 6 cm.

Sheet 12 x 9 cm.

(d)

(d)

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

157. Gunnar Smoliansky (Sweden, 1933–2019), ‘29 juli 1986’.

158. Ralph Gibson (USA, 1939–), From the series ‘Quadrants’, 1975.

Signed Gunnar Smoliansky verso. Vintage. Gelatin silver print, image 8.3 x 5.5 cm. Sheet 12 x 7.5 cm.

Signed Ralph Gibson and dated 1975 and numbered 3/25. Gelatin silver print, image 45.5 x 30 cm. Sheet 50.5 x 40 cm.

(d)

Provenance: Acquired at Sotheby's in the 1980s.

Literature: Ralph Gibson, ‘Deus Ex Machina’, 1999, illustrated on p. 275.

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

159. Bruno Ehrs (Sweden, 1953–), ‘Carl XVI Gustaf, Skeppsholmen, maj 2002’.

Signed Bruno Ehrs and numbered 42/50. Printed later.

Pigment print, image 81 x 64 cm. Sheet 111 x 91 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

160. Nathalia Edenmont (Sweden, 1970–), ‘Mother’, 2009–2011.

Signed N Edenmont and numbered 3/6 verso. C–print mounted to glass and framed 129 x 101 cm. Including frame 140 x 113 cm.

Exhibitions: Another example exhibited Sven–Harrys Konstmuseum, Stockholm, ‘Nathalia Edenmont: Only me’, 17 January – 16 March 2013.

Literature: Nathalia Edenmont, ‘Eternal’, 2011, illustrated on full page p. 82.

Nathalia Edenmont, ‘Only me’, 2013, illustrated on full page p. 12. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

161. Charlotte Gyllenhammar (Sweden, 1963–), ‘Korsning/Crossroads’, 1995.

Signed Charlotte Gyllenhammar and dated 2002 and numbered 8/10 verso. Cibachrome mounted to aluminum 50 x 35 cm.

Literature: Magnus Jensner, Evalena Lidman, ‘Charlotte Gyllenhammar’, 2004, illustrated.

Charlotte Gyllenhammar, ‘Charlotte Gyllenhammar’, 2011, illustrated. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

162. Peter Johansson (Sweden, 1964–), ‘Självporträtt i rött’, 2012.

Signed Peter Johansson and numbered e.a 5/5 verso. Total edition of 11 + 5 e.a.

C–print 102 x 87 cm including original frame.

Provenance: Galleri Thomassen, Göteborg. Acquired in 2018 by the present owner.

Exhibitions: Another example has been exhibited at: Zornmuseet, Mora, ‘Johansson vs Zorn’, 11 November 2012–10 March 2013.

Bohusläns museum, Uddevalla, ‘Samlarens blick’, 26 April – 8 June 2014.

Kalmar konstmuseum, ‘Drömmen om samlingen’, 4 July – 27 November 2015.

Nationalmuseum c/o Konstakademien, Stockholm, ‘Konstnären’, 11 February – 4 September 2016.

Moderna Museet, Malmö, ‘Konstnären’, 24 September 2016 – 19 February 2017.

Literature: Peter Johansson, Per Svensson and Klas Östergren, ‘Johansson vs Zorn’, 2012, illustrated on full page. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

163. Helena Blomqvist (Sweden, 1975–), ‘To the Moon… and Home’, 2016.

Signed Helena Blomqvist and numbered AP 2 on label verso.

Total edition of 6 + 2 AP. C–print 153 x 137 cm including frame.

Literature: Helena Blomqvist and Joanna Persman, ‘Florentine’, 2016, illustrated on the cover and on full page. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 740 – 6 640

164. Camilla Åkrans (Sweden, 1977–), ‘Floating Anna’, 2009.

Signed Camilla Åkrans and numbered 1/3 on label verso. Total edition 3 + 2 AP. Printed in 2017. Signed certificate accompanies the work.

C-print, image 61 x 91 cm.

Provenance: CFHILL + Fotografiska, Stockholm, 2017. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

165. Elisabeth Ohlson (Sweden, 1961–), ‘Nattvarden’, 1998.

Signed Elisabeth Ohlson and numbered 2/20 verso. Printed in 2018 for the 20 years jubilee. C–print mounted to aluminum 60 x 92 cm.

Provenance: Acquired directly from the artist by the present owner.

Literature: Elisabeth Ohlson Wallin, ‘Ecce Homo’, 1998, illustrated. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

166. Helena Blomqvist (Sweden, 1975–), ‘The Last Giant Octopus’, 2008.

Signed Helena Blomqvist and numbered AP 1 on label verso. Total edition 6 + 2 AP. C–print, image 86 x 110 cm. Including frame 110 x 133 cm.

Literature: Helena Blomqvist, ‘Helena Blomqvist’, 2012, illustrated on full page. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 740 – 6 640

167. Mikael Jansson (Sweden, 1958–), ‘Iggy Pop with Dior handbag #5’, 2010.

Signed Mikael Jansson and numbered AP verso. Printed in 2014.

Gelatin silver print mounted to aluminum, image 72 x 53.5 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

168. Yves Marchand & Romain Meffre (France), 'Roosevelt Warehouse, Public Schools Book Depository', 2007.

Certificate included. Edition 6/9. C–print 98 x 123 cm including frame.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

169. Masayoshi Sukita (Japan, 1938–), ‘David Bowie – The Bewlay Brothers’, 1973.

Signed Masayoshi Sukita and numbered 7/30.

Archival Digital Print, image 31 x 45.5 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

170. Jerry N. Uelsmann (USA, 1934–), ‘Untitled’, 1982.

Signed Jerry N. Uelsmann and copyright stamped verso. Gelatin silver print, image 47.5 x 38 cm. Sheet 50.5 x 40.5 cm.

Literature: Jerry Uelsmann and A.D. Coleman, ‘Jerry Uelsmann: Photo Synthesis’, 1992, illustrated on p. 61.

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

171. Jerry N. Uelsmann (USA, 1934–), ‘Untitled’, 1982.

Signed Jerry N. Uelsmann and copyright stamped verso. Gelatin silver print, image 49 x 39 cm. Sheet 50.5 x 40.5 cm.

Literature: Jerry Uelsmann and A.D. Coleman, ‘Jerry Uelsmann: Photo Synthesis’, 1992, illustrated.

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

ROBERT MAPPLETHORPE Robert Mapplethorpe is seen as one of the most technically skilled photographers of all time. He is talked about as much for his skills in the darkroom and his ability to arrange and light his pictures as he is for his sexual experimentation and provocative subjects.

Mapplethorpe’s photographic production includes subjects as contradictory as flower arrangements, classic nudes, self–portraits and BDSM. Mapplethorpe’s pictures encapsulate developments on the photography scene in the 1970s and 80s, where photography as a genre changed from being documentary to conceptual and started to be viewed as an art form in its own right. They also reflect the vibrant gay scene in New York and the threat of AIDS. His many pictures of black, male models were innovative at the time. Here we see one of his recurring models, Thomas Williams, in a beautiful photograph in profile from 1986. When Mapplethorpe and Williams first met, Williams was a bodybuilder and aspiring actor. Later, once Mapplethorpe’s photographs of him had become famous, he instead started a career in gay pornography under the name Joe Simmons.

Mapplethorpe drew great inspiration from art history and was interested in classical sculpture as well as surrealist artists like Man Ray. Traces of this

are found in his many pictures of sculptures from antiquity and male nudes directly linked to the perfect physical ideal in the ancient world. In many of his portraits and still lives, he plays with shadows and light inspired by the photography of Man Ray and Lee Miller. He approached each subject with the same precision, “perfection” was Mapplethorpe’s watchword throughout his photographic career. In an interview in 1988 he said: ‘My whole point is to transcend the subject . . . go beyond the subject somehow, so that the composition, the lighting, all around, reaches a certain point of perfection.’

173. Robert Mapplethorpe, ‘Thomas, 1986’.

Signed Robert Mapplethorpe and dated –86 and numbered 2/10. Vintage. Also copyright stamp and signature verso. Gelatin silver print, image 48.8 x 48.5 cm.

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850 187. Robert Mapplethorpe, ‘Untitled (Lily)’, 1983 (detail).

From the ‘Flowers’ portfolio. Signed Robert Mapplethorpe and numbered 38/40. Total edition of 40 + 10 AP. Toned photo gravure, image 55 x 45 cm.

Sheet 79 x 62 cm.

Estimate: SEK 70 000 – 90 000 / EUR 6 640 – 8 530

172. Irving Penn (USA, 1917–2009), ‘The Sultan of Morocco in his Carriage’, 1952.

Signed Irving Penn and numbered 7/17 verso. Printed by the photographer in 1979. Stamped ‘Photograph by Irving Penn, Copyright 1952 by The Condé Nast Publications Inc.’ verso. Platinum palladium print mounted to aluminum, image 17.3 x 24 cm. Sheet 34 x 55 cm.

Provenance: Camera Obscura, Stockholm.

Literature: Irving Penn, ‘Moments preserved : eight essays in photographs and words’, 1960, illustrated on p. 57.

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

173. Robert Mapplethorpe (USA, 1946–1989), ‘Thomas, 1986’.

Signed Robert Mapplethorpe and dated –86 and numbered 2/10.

Vintage. Also copyright stamp and signature verso. Gelatin silver print, image 48.8 x 48.5 cm.

Provenance: Galleri Bilder till salu, Stockholm. Acquired in 1998 by the present owner.

Exhibitions: Galleri Bilder till salu, Stockholm, 1998.

Another example exhibited at Moran Bondaroff gallery, Los Angeles, ‘Dark and Light’, juni 2016.

Another example exhibited at J. Paul Getty Museum, Getty Center, ‘Robert Mapplethorpe: The Perfect Medium’, 15 March – 31 July 2016.

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

174. Boo Ritson (Great Britain, 1969–), ‘Nina’, 2006.

Edition 1/3 + 2 AP. Diptych. Archival digital print mounted to aluminum and framed 190 x 207.5 cm including frame.

Provenance: Brändström & Stene, Stockholm. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

175. Adam Fuss (Great Britain, 1961–), ‘Untitled’, 2002.

Presumably signed verso. Unique. Daguerrotype 35.6 x 27.9 cm.

Mounted in plexi frame 54.5 x 47 cm.

Provenance: Cheim & Read, New York. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

176. Gregory Crewdson (USA, 1962–), ‘Untitled, 1998 (Wonder Bread Pile)’.

Signed Gregory Crewdson on label verso. Edition 6/10. Digital C–print and laminate, image 120 x 150 cm. Including frame 132 x 163 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

177. David Hockney (Great Britain, 1937–), ‘David Graves looking at Bayswater’, 1982.

Signed David Hockney and numbered #16 from an edition of 20.

Photographic collage 126 × 81 cm including frame.

Provenance: Acquired directly from the artist in New York via Swedish gallerist Björn Bengtsson, 1984. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 220 – 18 960

178. Julia Peirone (Sweden, 1973–), ‘Waiting (Stella)’, 2014.

Signed Julia Peirone and numbered 1/10 on label verso. C–print mounted to dibond 39 x 29 cm.

Provenance: Galleri Thomas Wallner, Simris. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

179. Julia Peirone (Sweden, 1973–), ‘Waiting (Norma)’, 2014.

Signed Julia Peirone and numbered 1/10 on label verso. C–print mounted to dibond 39 x 29 cm.

Provenance: Galleri Thomas Wallner, Simris. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

180. Blaise Reutersward (Sweden, 1961–), ‘LACS709’, 2009.

Signed BLAISE REUTERSWARD and dated 2016 and numbered AP 2/2 verso. Total edition of 5 + 2 AP. C–print diasec mounted and framed 185.5 x 300 cm including frame.

Provenance: Private Collection, Los Angeles. (d)

Estimate: SEK 180 000 – 200 000 / EUR 17 070 – 18 960

181. Philip–Lorca diCorcia (USA, 1953–), ‘Marilyn, 28 years old, Las Vegas, Nevada, 30 $’, 1990–1992.

From ‘the Hustlers Series’, 1990–1992. Signed Philip–Lorca diCorcia verso. Edition of 20. C–print, image 64 x 95 cm.

Provenance: Galleri Christian Larsen, Stockholm. Acquired in 1999 by the present owner.

Exhibitions: Another example exhibited at: The Museum of Modern Art, New York, ‘Philip–Lorca diCorcia: Strangers’, 15 april – 6 juli 1993.

The Museum of Modern Art, New York, ‘Into the Sunset: Photography's Image of the American West’, mars – juni 2009.

Fotomuseum Winterthur, Schweiz, ‘Street. Life. Photography’, 12 september 2020 – 10 januari 2021.

Literature: Peter Galassi, ‘Philip–Lorca diCorcia’, 1995, illustrated.

Hamburger Kunsthalle (ed.) and the artists, ‘Emotions & Relations: Nan Goldin, David Armstrong, Mark Morrisroe, Jack Pierson, Philip–Lorca Dicorcia’, 1998, illustrated on the cover.

Ken Johnson, The New York Times, ‘Mythic West of Dreams and Nightmares’, 27 March 2009, illustrated in color p. 32.

Philip-Lorca diCorcia, “Philip-Lorca diCorcia: Hustlers”, 2013, illustrated.

Estimate: SEK 200 000 – 250 000 / EUR 18 960 – 23 700

182. Luis Gispert (USA, 1972–), ‘Huey’, 2009.

Signed L Gispert and dated 09 and numbered 6/6 verso.

C–print, image 120.5 x 204.5 cm.

Provenance: Stefan Lundgren Gallery, Palma de Mallorca.

Estimate: SEK 100 000 – 150 000 / EUR 9 480 – 14 220

183. Joel–Peter Witkin (USA, 1939–), ‘Portrait of Signora di Nobili and the Sorrows to Come’, 1996.

Signed Joel–Peter Witkin and dated 1996 and numbered 6/6 verso. Toned gelatin silver print, image 37 x 37 cm. Including iron frame 74 x 60 cm.

Provenance: Pace/MacGill Gallery, New York. Acquired in 1999 by the present owner.

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

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

IRVING PENN Irving Penn worked for Vogue Magazine for 66 years. He created his first cover in August 1943 and his last in August 2009, the year of his death. Over these years, he created a total of 165 cover images, more than any other photographer ever.

Penn’s first pictures for Vogue were still lives of bags and gloves. Alexander Liberman, Vogue’s Art Director, recognised Penn’s skill and commissioned him to take fashion photographs of live models instead. One of his earliest assignments was a photo shoot for the article ‘12 Beauties’ in 1947 in which Vogue brought together twelve of America’s most popular and most photographed models for a group portrait. This was where Irving Penn met his future wife, the Swedish supermodel Lisa Fonssagrives. Penn raised fashion photography to an art form in its own right, and over the years created unforgettable images that exude elegance and playfulness. He always treated the garments and its designers with respect and was precise about highlighting the cut and the material.

The photograph in the auction, ‘Fashion Photograph (Nina Devoe), New York, 1951’, graced the cover of Vogue in May 1951 in a colour version depicting the model Nina Devoe against a beige background wearing a sleeveless khaki dress, with red lips, light-blue eyeshadow and a yellow coat over her arm. The issue contained ‘Fashion for ’local events all across America’ as well as travel guides to Canada, Spain, London and Paris.

Nina Devoe was a popular model in the 1950s and she appeared on the cover of Vogue several times, in pictures by photographers such as Erwin Blumenfeldt.

188. Irving Penn, ‘Fashion Photograph (Nina Devoe), New York, 1951’.

Signed Irving Penn verso. Printed near to date of photograph (from a color transparency). Edition of 6.

Vintage. Stamped ‘Photograph by Irving Penn, Copyright 1951 (renewed 1979), by The Condé Nast Publications Inc.’ verso. Gelatin silver print, image 24.3 x 19.5 cm. Sheet 25.2 x 20.2 cm.

Estimate: SEK 300 000 – 400 000 / EUR 28 440 – 37 920

184. Joel–Peter Witkin (USA, 1939–), ‘Hermaphrodite with Christ, San Francisco’, 1985.

Signed Joel–Peter Witkin and dated 1985 and numbered 7/15 verso. Vintage.

Toned gelatin silver print, image 37 x 37 cm. Including iron frame 74 x 60 cm.

Provenance: Pace/MacGill Gallery, New York. Acquired in 1998 by the present owner.

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

185. Gisèle Freund (Germany, 1908–2000), ‘Le Corbusier dans son atelier à Paris, 1961’.

Signed Gisele Freund and copyright stamped verso. Gelatin silver print, image 21.2 x 30 cm. Sheet 30.3 x 40.4 cm.

Provenance: Directly from the artist by the present owner.

Literature: Musee National d’art moderne Centre Pompidou, ‘Gisele Freund Itineraires’, 1991, illustrated on p. 126. (d)

Estimate: SEK 8 000 – 10 000 / EUR 760 – 950

186. Aaron Siskind (USA, 1903–1991), ‘Rome: Arch of Constantine 4’, 1967.

Signed Aaron Siskind. Gelatin silver print, image 45 x 36 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

187. Robert Mapplethorpe (USA, 1946–1989), ‘Untitled (Lily)’, 1983.

From the ‘Flowers’ portfolio. Signed Robert Mapplethorpe and numbered 38/40.

Total edition of 40 + 10 AP. Toned photo gravure, image 55 x 45 cm. Sheet 79 x 62 cm.

Provenance: Galleri Skarstedt, Stockholm. Acquired by the present owner in 2005.

Literature: Robert Mapplethorpe, John Ashbery, ‘Mapplethorpe: Pistils’, 1996, illustrated pl. 30.

Mark Holborn (ed.), ‘Mapplethorpe, Flora: The Complete Flowers’, 2016, illustrated on p. 283.

Estimate: SEK 70 000 – 90 000 / EUR 6 640 – 8 530

188. Irving Penn (USA, 1917–2009), ‘Fashion Photograph (Nina Devoe), New York, 1951’.

Signed Irving Penn verso. Printed near to date of photograph (from a color transparency). Edition of 6. Vintage. Stamped ‘Photograph by Irving Penn, Copyright 1951 (renewed 1979), by The Condé Nast Publications Inc.’ verso.

Gelatin silver print, image 24.3 x 19.5 cm. Sheet 25.2 x 20.2 cm.

Provenance: Åmells, Stockholm.

Exhibitions: Åmells, Stockholm, ‘Irving Penn, Fashion’, 18 March – 7 April 2017.

Literature: Vogue, published 15 May 1951, illustrated on the cover (as a colour print).

Estimate: SEK 300 000 – 400 000 / EUR 28 440 – 37 920

189. Hans Hammarskiöld (Sweden, 1925–2012), ‘Carl Sandburg’, 1959.

Signed Hans Hammarskiöld/TIO and numbered 52/100. Copyright stamp verso.

Printed in 1976. Gelatin silver print, image 36.5 x 27.5 cm. Sheet 39.2 x 29.5 cm.

Literature: Kurt Mälarstedt, ‘Foto Hammarskiöld – Tiden och ljuset’, 2008, illustrated on p. 101. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

190. Antanas Sutkus (Lithuania, 1939–), ‘The Face of the Epoch’, 1979–1981.

Signed A. Sutkus verso. Gelatin silver print, image 40.5 x 41.7 cm. Sheet 41.2 x 41.2 cm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

191. Antanas Sutkus (Lithuania, 1939–), ‘Goodbye, party comrades!’, 1991.

Signed A. Sutkus verso. Gelatin silver print, image 46.6 x 37.5 cm. Sheet 49.8 x 39.8 cm.

Literature: ‘Farewell to the XX Century: Lithuanian Photography 1932–2000’, 2000, illustrated on p. 118.

Saulius Žukas, ‘Antanas Sutkus. Fotografijos/Photographs 1959–1999’, 2000, illustrated on p. 57.

Antanas Sutkus, ‘Antanas Sutkus: Lithuanian Portraits’, 2008, illustrated on p. 84 Antanas Sutkus. ‘Antanas Sutkus: A Retrospective’, 2009, illustrated. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

192. Georg Oddner (Sweden, 1923–2007), ‘Mannen med boken, Rostov, 1955’.

Signed Georg Oddner. Also signed and dated 1998 verso. Gelatin silver print, image 32.7 x 25 cm. Sheet 40 x 30 cm.

Provenance: Acquired directly from the photographer by the present owner.

Literature: Georg Oddner, ‘Närvarande’, 1984, illustrated on full page p. 16.

Georg Oddner, ‘Genomresa – Georg Oddner’, 2003, illustrated on full page p. 140. (d)

Estimate: SEK 0 / EUR 0

193. Hans Hammarskiöld (Sweden, 1925–2012), ‘Hon’, 1966.

Stamped by Hans Hammarskiöld Heritage and numbered 1/25 verso.

Pigment print, image 39.5 x 39.5 cm.

194. Hans Hammarskiöld (Sweden, 1925–2012), ‘Hon, Niki de Saint Phalle’, 1966.

(d)

Stamped by Hans Hammarskiöld Heritage and numbered 2/25 verso.

Pigment print, image 39.5 x 39.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

(d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

195. Hans Runesson (Sweden, 1947–), ‘Kvinnan med handväskan’, 1985.

Signed Hans Runesson and numbered 13/25 verso. Printed in 2019. Gelatin silver print, image 27.5 x 41 cm.

Provenance: Pelle Unger Gallery, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

196. Leif Elggren (Sweden, 1950–), ‘Under the Couch’, 2013.

Presumably edition 1/3. C–print, 54 x 65 cm including the artist's frame.

Provenance: Galleri Niklas Belenius, Stockholm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

197. Charlotte Gyllenhammar (Sweden, 1963–), ‘Belle’, 1998.

Signed Charlotte Gyllenhammar and numbered 1/5 verso. C–print, image 29 x 40.5 cm.

Literature: Magnus Jensner, Evalena Lidman, ”Charlotte Gyllenhammar”, 2004, illustrated as a colour print. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850

198. JH Engström (Sweden, 1969–), From the series ‘Trying to dance’, 2004.

199. JH Engström (Sweden, 1969–), From the series ‘Trying to dance’, 2004.

Signed JH Engström and dated Brooklyn 1999 verso. Dedication to Gunnar Smoliansky Stockholm November 2006 verso. C–print, image 28.5 x 22 cm.

Signed JH Engström and dated Brooklyn 1999 verso. Dedication to Gunnar Smoliansky Stockholm November 2006 verso. C–print, image 28.5 x 22 cm.

Provenance: Gunnar Smoliansky Collection, Stockholm.

Literature: Arvidsson, Wolthers, Östlind, ‘Mellan verkligheter: Fotografi i Sverige 1970–2000’, 2014, on full page p. 368. (d)

Provenance: Gunnar Smoliansky Collection, Stockholm.

Literature: Arvidsson, Wolthers, Östlind, ‘Mellan verkligheter: Fotografi i Sverige 1970–2000’, 2014, on full page p. 369. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

200. Gisèle Freund (Germany, 1908–2000), ‘Jean Cocteau, Paris, 1939’.

201. Gisèle Freund (Germany, 1908–2000), ‘Virginia Woolf, 1939’.

Signed Gisele Freund and copyright stamped verso. Gelatin silver print, image 37.7 x 26 cm. Sheet 40.1 x 30.3 cm.

Signed Gisele Freund and copyright stamped verso. C–print, image 30 x 20 cm.

Sheet 39.7 x 29.7 cm.

(d)

Provenance: Directly from the artist by the present owner.

Literature: Musee National d’art moderne Centre Pompidou, ‘Gisele Freund Itineraires’, 1991, illustrated on p. 146. (d)

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

202. Gisèle Freund (Germany, 1908–2000), ‘Virginia Woolf, London, 1939’.

Signed Gisele Freund and copyright stamped verso.

Gelatin silver print, image 29.5 x 22.7 cm. Sheet 39.7 x 30 cm.

Provenance: Directly from the artist by the present owner.

Literature: Musee National d’art moderne Centre Pompidou, ‘Gisele Freund Itinéraires’ , 1991, illustrated. (d)

Estimate: SEK 8 000 – 10 000 / EUR 760 – 950

203. Per Wizén (Sweden, 1966–), From the series ‘Reworkings’, 1998.

Signed Per Wizén and dated 1998 and numbered 2/3 verso.

Cibachrome mounted to aluminum 34.5 x 52 cm. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850

204. Per Wizén (Sweden, 1966–), From the series ‘Reworkings’, 1998.

Signed Per Wizén and dated 1998 and numbered 2/3 verso.

Cibachrome mounted to aluminum 39.5 x 59 cm. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850

205. Per Wizén (Sweden, 1966–), From the series ‘Reworkings’, 1998.

Signed Per Wizén and dated 1998 and numbered 2/3 verso.

Cibachrome mounted to aluminum 40 x 60 cm. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850

206. Kenneth Gustavsson (Sweden, 1946–2009), Untitled.

Signed Kenneth Gustavsson verso. Gelatin silver print, image 23.3 x 28.7 cm. Sheet 30 x 39.5 cm.

Provenance: Galleri Gauss, Stockholm.

Literature: Thomas Wågström (ed.), ‘The Magic Bar. Kenneth Gustavsson’, 2012, illustrated on full page p. 79. (d)

Estimate: SEK 8 000 – 10 000 / EUR 760 – 950

207. Ola Billgren (Sweden, 1940–2001), ‘Vid fönstret I, Lund’, 1962.

Signed Ola Billgren and dated –62 verso. Gelatin silver print, image 32.5 x 32 cm.

Provenance: The artist's family.

Stockholms Auktionsverk, Nutida 15 November 2011. Lot. No. 73, illustrated p. 40.

Private Collection, Stockholm. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

208. Emil Heilborn (Sweden, 1900–2003), ‘Vårhälsning’, 1934.

Signed Emil Heilborn verso. Gelatin silver print, image 29 x 26 cm.

Sheet 40.2 x 30.2 cm.

Literature: Petter Österlund, ‘Emil Heilborn’, 2003, illustrated on p. 46. (d)

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

208A. Sune Jonsson, "Elimkapellet i Vinliden, Lycksele", 1994.

Gelatin silver print, image 35 x 28 cm. Sheet 40 x 30 cm.

Provenance: Acquired directly from the photographer by the present owner.

Literature: Sune Jonsson, "Sune Jonsson: Husen vid Himlastigen", 1998, illustrated on p. 43. (d)

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

209. Henry B. Goodwin (Germany, 1878–1931), ‘Vårt vackra Stockholm’, 1920.

Published in 1920 to benefit the Daniel Fallström Foundation.

Numbered 200/200. Published by Bröderna Lagerström Boktryckare. Half–binding in calf leather and linnen. One etching

by Carl Larsson signed by Karin Larsson and 39 photo gravures.

Illustrations by Ernst Hällgren, Olle Hjortzberg, Louis Sparre, Robert Haglund, Ferdinand Boberg, Axel Herman Hägg, Knut Lindeberg and Aron Gerle. 33 x 25 cm.

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

241A. Ernst Billgren, ‘Konsthandlaren’.

210. Charlotte Gyllenhammar (Sweden, 1963–), ‘Night Descend Miniature’.

Signed CG and dated –18. Bronze, height 36 cm, edition of 30. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

250. Dan Wolgers (Sweden, 1955–), ‘Objekt II’.

Signed Dan Wolgers and dated 1991. Edition 7/10. Glow bulbs and silicone mounted on wooden base. Height 29 cm.

Provenance: Andréhn–Schiptjenko, Stockholm.

Literature: Pontus Hultén and Dan Wolgers, ‘Dan Wolgers – 120 verk 1977–1996’, 1996, illustrated p. 64. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

210. Charlotte Gyllenhammar (Sweden, 1963–), ‘Night Descend Miniature’.

Signed CG and dated –18. Bronze, height 36 cm, edition of 30. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

211. Anna Bjerger (Sweden, 1973–), ‘Cave’.

Signed Anna Bjerger and dated 2010 on verso. Oil on aluminium 70 x 60 cm.

Provenance: ALP/Peter Bergman, Stockholm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 320 – 3 800

212. Elisabeth Frieberg (Sweden, 1977–), ‘Heaven, Yellow Mica, Panties’.

Signed E. Frieberg and dated 2016 on verso. Mixed media on canvas 31 x 30.5 cm.

Provenance: Galleri Thomas Wallner, Simris.

Private Collection, Sweden. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

213. Markus Åkesson (Sweden, 1975–), ‘Rites Of Passage (the Big Night)’.

Signed Markus Åkesson on verso. Canvas 67 x 100 cm.

Provenance: Pelle Unger Gallery, Stockholm.

Exhibitions: Pelle Unger Gallery, Stockholm, 2011, illustrated in the exhibition catalogue. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

214. Lars Englund (Sweden, 1933–), ‘Borderline’.

Sintered steel, 100 cm in diameter.

Provenance: Acquired from the artist by the present owner. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 320 – 3 800

215. Cecilia Edefalk (Sweden, 1954–), ‘Nose’.

Signed Cecilia Edefalk and dated 1994 on verso. Canvas 60.5 x 40 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

216. Marie–Louise Ekman (Sweden, 1944–), Untitled.

Signed M.L De Geer Bergenstråhle and dated 1973. Assemblage and oil on canvas 25.2 x 20.2 cm.

Provenance: Gift from the artist to the present owner. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

217. Patrik Andiné (Sweden, 1968–), ‘Utanför II’.

Signed Patrik Andiné and dated 2007 on verso. Canvas 62 x 65 cm.

Provenance: Galleri 1, Gothenburg.

Exhibitions: Galleri 1, Gothenburg, ‘Patrik Andiné, målningar’, 12–30 January 2008. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

218. Jacob Dahlgren (Sweden, 1970–), ‘Peinture abstraite numero cent vingt–six’.

Signed Jacob Dahlgren and dated 2007 on verso. Panel 45.5 x 45.5 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

219. Martin Wickström (Sweden, 1957–), ‘36 views of Mount Fuji, Nr. 12’.

Signed Martin Wickström and dated 2009 on verso. Oil on MDF 50 x 50 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Gunnar Smoliansky Collection, Stockholm.

Exhibitions: Angelika Knäpper Gallery, Stockholm, ‘36’, 2009.

Literature: Greger Ulf Nilson (ed.), '10_20 Martin Wickström', 2021, illustrated p. 21 and listed under '36' in the list of works p. 49. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

220. Lisa Jonasson (Sweden, 1978–), ‘I am sorry on behalf of everything that doesn't exist’.

Signed Lisa Jonasson and dated 2011 on verso. Collage on paper 50 x 64.5 cm.

Provenance: Galleri Magnus Karlsson, Stockholm. Acquired from the above by the present owner at Frieze Art Fair, London. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

221. Jim Thorell (Sweden, 1981–), ‘Till Eva’.

Signed Jim Thorell and dated –15 on verso. Canvas 220 x 156 cm.

Provenance: Carl Kostyál, Stockholm.

Private Collection, Stockholm.

Stockholms Auktionsverk, ‘Contemporary’, 11 November 2015.

Private Collection, Stockholm.

Exhibitions: Sven–Harrys Konstmuseum, Stockholm, ‘SWEDISH ART:NOW!’, 20 April – 6 June 2016. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

222. Lars Lerin (Sweden, 1954–), Untitled.

Signed Lars Lerin and dated 84. Watercolour on paper 54.6 x 74.2 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

223. Karl Norin (Sweden, 1982–), ‘Alien Trainwreck’.

Executed in 2014. Faux fur, epoxy, foam board, glass fibre 157 x 159 cm.

Provenance: Carl Kostyál, Stockholm/London. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

224. Torsten Andersson (Sweden, 1926–2009), ‘Plank’.

Executed in 2006. Canvas 73 x 59 cm, mounted to canvas.

Provenance: Brändström & Stene, Stockholm.

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

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

225. Clay Ketter (Sweden, 1961–), ‘Stubb Ranch’.

Signed Clay Ketter and dated 2012 on verso.

Asssemblage behind acrylic glass 87.6 x 84.4 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

226. Daniel Jensen (Sweden, 1972–), ‘Crash Course’.

Signed D. Jensen and dated 2019 on verso. Canvas 140 x 100 cm.

Provenance: Björkholmen Gallery, Stockholm.

Exhibitions: Björkholmen Gallery, Stockholm, ‘Daniel Jensen: Current Events’, 12 October – 9 November 2019.

Literature: Björkholmen Gallery, ‘Daniel Jensen: Current Events’, 2019, illustrated full page p. 9. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

227. Martin Wickström (Sweden, 1957–), ‘NY Globe’.

Signed Martin Wickström and dated 2020 on verso.

Oil on panel 64 x 47 cm. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 850 – 14 220

ULF WAHLBERG Ulf Wahlberg made his breakthrough in the 1960s with his paintings of American cars in deserted landscapes, subjects taken from his long journeys around the USA. He made his first trip to America in 1965 and it lasted three months. His second trip with artist John–E Franzén in 1966–1967 lasted five months, not only leading to a lifelong friendship but also coming to strongly influence their art, with the subjects and atmosphere of the trip constantly recurring in their respective works.

Wahlberg’s interest in all kinds of motor vehicles emerged early in his childhood. According to Wahlberg himself, the fact that what inspires him, mainly

1950s settings and car models, was entirely due to the environment in which he grew up. In the second half of the 1940s, in Stockholm’s then new southern suburbs, there were very few cars around. Therefore, the sight of the first rare American cars with their smooth lines etched itself firmly on the young Ulf Wahlberg’s retina. Their sweeping lines, panoramic windows and big fins became his style ideal and source of inspiration. He got to know Hot–Rod legend Bosse Sandberg as early as 1965. A few years later, the two of them toured the garages of southern Stockholm looking at Hot Rods and custom cars, each one wilder than the next, an unforgettable experience for Wahlberg.

However, Wahlberg’s art not only revolved solely around cars; he had a wide range in terms of subjects and styles, everything from abstract still lives to interiors and realistic landscapes. But irrespective of his subject and expression, his pictures almost always exude a rare stillness and silence.

Wahlberg was a fan of abstraction, and moved things around in his paintings, but was always bound to reality. This is clearly seen in the auction painting from 1967, where the muddle of the scrapyard has been given the look of a collage, with precisely reproduced elements arranged in a way that is both decorative and inspired. In Wahlberg’s art, the car can symbolise both a human inclination to tame nature and the vagabond’s drive to always

be on the way to new destinations. Ulf Wahlberg had a large number of exhibitions, including in Japan, Paris, Russia, Denmark, the USA and Sweden.

He is represented at Nationalmuseum, Moderna Museet, Gothenburg Museum of Art, Malmö Museum and Borås Art Museum.

231. Ulf Wahlberg, Untitled.

Signed Ulf W and dated 67. Canvas 135 x 250 cm. (d) Estimate: SEK 150 000 – 200 000 / EUR 14 220 – 18 960

228. Ann Edholm (Sweden, 1953–), ‘Lokation II’.

229. Lisa D Manner (Sweden, 1979–), ‘Drifting’.

Signed Ann Edholm and dated 2010 on verso. Oil on canvas 180 x 180 cm.

Signed Lisa D Manner and dated 2014 on verso.

Oil on panel 40 x 30 cm.

Provenance: Galerie Nordenhake, Stockholm.

Dan-Ola and Ann Christine Larsson Collection, Sweden.

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

Estimate: SEK 125 000 – 140 000 / EUR 11 850 – 13 270

230. Ulf Rollof (Sweden, 1961–), ‘3 Very Clear Blue Skies’.

Signed Rollof. Executed in 2011. Triptych. Acrylic and float glass with rounds of 9 mm revolver shots 99 x 69 cm.

Provenance: Acquired from the artist.

Private Collection, Stockholm. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 850 – 14 220

Provenance: Galleri Arnsted, Båstad. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

231. Ulf Wahlberg (Sweden, 1938–2014), Untitled.

Signed Ulf W and dated 67. Canvas 135 x 250 cm. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 220 – 18 960

232. Gerhard Nordström (Sweden, 1925–2019), ‘Den spräckta illusionen’.

Signed G. Nordström. Canvas 57 x 72 cm.

Provenance: Art Lottery Limhamn 11 December 1970. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 850 – 3 320

233. Per Olof Ultvedt (Sweden, 1927–2006), ‘Svart Sommar’.

Signed P.O Ultvedt. Wall object, mixed media, painted wood, mobile with engine. Measurements 61 x 61 x 11 cm.

Provenance: Bukowskis, ‘Moderna Vårauktionen 2004’, lot 566.

Private Collection, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

234. Ola Billgren (Sweden, 1940–2001), Untitled.

Signed Ola Billgren and dated –73. Watercolour on paper 19 x 27 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

235. Anders Widoff (Sweden, 1953–), Ur ‘Opera’ nr 61.

Signed Anders Widoff and dated 1998 on verso. Canvas 200 x 64 cm.

Provenance: Galerie Leger, Malmö.

Fredrik Roos Collection.

Stockholms Auktionsverk, 27 September 2006, ‘Fredrik Roos nordiska samling’, lot no 3.

Exhibitions: Galerie Leger, Malmö, ‘Opera’, 5 May – 5 June 1998. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 480 – 11 380

236. Ola Billgren (Sweden, 1940–2001), ‘Studie, Lund’.

236A. Sten Eklund (Sweden, 1942–2009), ‘Hinderlöpning’.

Signed Ola Billgren and dated –89 on verso. Canvas 49 x 45 cm.

Signed SE 99. Gouache on paper 21 x 20 cm.

Provenance: Stockholms Auktionsverk, Moderna Kvalitén, 3 November 2006, lot no. 1151. (d)

(d)

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

Estimate: SEK 10 000 – 15 000 / EUR 950 – 1 430

237. Jarl Ingvarsson (Sweden, 1955–), ‘Epilog’.

Signed Jarl Ingvarsson and dated 99 on verso.

Canvas 80.5 x 65 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

238. Lena Cronqvist (Sweden, 1938–), Utan titel.

Signed L. Cronqvist and dated 1970. Canvas 44.5 x 48 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

239. Lars Englund (Sweden, 1933–), ‘Pars pro toto’.

Executed in 1992. Sintered steel ca 200 x 150 x 28 cm.

Provenance: Acquired from the artist by the present owner. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 480 – 14 220

240. Martin Wickström (Sweden, 1957–), ‘Top Gun’.

241. Anette Harboe Flensburg (Denmark, 1961–), ‘Untitled’.

Signed Martin Wickström and dated 2007. Numbered AP III/III. Mixed media 26 x 22.5 cm.

Signed Anette Flensburg on verso. Canvas 80 x 120 cm.

Provenance: Dep,art,ment, Stockholm.

Private Collection, Stockholm. (d)

Estimate: SEK 6 000 – 8 000 / EUR 570 – 760

Provenance: Galleri Christina Wilson, Copenhagen.

Private Collection, Sweden. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

241A. Ernst Billgren (Sweden, 1957–), ‘Konsthandlaren’.

Signed EB. Executed 2007. Oil on panel in artist's frame 207 x 145 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Private Collection, Stockholm.

Exhibitions: Läckö Castle, Lidköping, "Makalös inspiration", 2007.

Literature: Stiftelsen Läckö slott, "Ernst Billgren – Makalös inspiration", exhibition catalogue, illustrated p. 21. (d)

Estimate: SEK 300 000 – 400 000 / EUR 28 440 – 37 920

242. Matthias van Arkel (Sweden, 1967–), ‘GBG #14’.

Signed MvA. Executed in 2018. Platina silicone rubber 60 x 55 cm.

Provenance: Galleri Hammarén, Gothenburg. Acquired in 2018.

Exhibitions: Galleri Hammarén, Gothenburg, ‘Matthias van Arkel, ‘, 20 October – 15 November 2018. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

243. Meta Isæus–Berlin (Sweden, 1963–), ‘Don Giovanni is sick’.

Signed Meta Isæus–Berlin and dated 2005 on verso. Canvas 115 x 190 cm.

Provenance: Andréhn–Schiptjenko, Stockholm.

Exhibitions: Liljevalchs Konsthall, Stockholm, ‘Meta Isæus–Berlin, Fickla vrårna’, 8 April – 28 May 2006.

Literature: Liljevalchs Konsthall, ‘Meta Isæus–Berlin, Fickla vrårna’, Stockholm, 2006, illustrated full page. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 480 – 11 380

244. Martin Wickström (Sweden, 1957–), ‘De sju haven VI’.

Signed Martin Wickström and dated 2018 on verso. Oil on canvas 70 x 170 cm.

Provenance: Galerie Forsblom, Stockholm.

Private Collection, Gothenburg.

Exhibitions: Galerie Forsblom, Stockholm, ‘Paradiso (Out of the Red)’, 19 January – 11 February 2018.

Literature: Greger Ulf Nilson (ed.), '10_20 Martin Wickström', 2021, illustrated p. 352–353 and listed under 'Paradiso (Out of the Red)' in the list of works p. 380. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

245. Rolf Hanson (Sweden, 1953–), ‘Ely’.

Signed Rolf Hanson and dated –82 made in New York.

Oil on panel 121 x 183.5 cm.

Exhibitions: Lunds Konsthall, August – September 1983.

Borås Konsthall, February 1983.

Karlsvik 10, November 1982. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

CARL FREDRIK REUTERSWÄRD Carl Fredrik Reuterswärd created an incredibly powerful symbol in combining the revolver and the knot in his sculpture Non-Violence.

The sculpture has long been much more than an appreciated piece of art; the knotted revolver has become an internationally self-evident peace symbol that seems to appeal to humanity to call a halt to repugnant violence worldwide.

247. Carl Fredrik Reuterswärd, ‘Non–Violence Knotted Gun’.

Signed CFR. Executed in 2018, edition 26/75. Patinated bronze, length 32 cm on stone base. A certificate from Non–Violence Project Foundation accompanies the lot. (d) Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

OLA BILLGREN Billgren's paintings are characterized by both duality and ambiguity, both in expression and in content, and the dreamlike presence is unmistakable.

The technique underlines this by constantly moving in the borderlands between realism and the abstract – where the two opposites define Billgren as an artist.

His work undergoes several phases, or metamorphoses, which manifest themselves in his different periods. The early hyperrealist painting later moves toward the less representational and culminating in the red period where the paintings that are covered with a bright red colour meet the viewer. Billgren chooses to reduce the original image and with the addition of the red, he creates a painting that, through constructive and reducing processes, has found its final form.

In the catalog that accompanied the exhibition at Galleri Engström in 1996 the artist expresses it this way: ‘The task of painting is to be a discourse about seeing and not to classify in kind. At least this was my starting point when I started experimenting with (quasi) monochrome painting in cadmium red three years ago. At first, from a colour experience point of view, it seemed most appropriate to refrain from all representational content, but I changed my mind after a period

of investigation. I had become attached to the colour red mainly due to a paradoxicality with it, that it at once pleases and attacks, flatters, and humiliates the gaze. It turned out that the interpretation of this relationship benefited from the introduction of an operator in the shape of a simple motif, for eg portrait or interior character (faces, furniture, etc.) which in an energetic way appealed to the viewer and gave a less peaceful meaning to the scrutinization. In that way, by filling the place of the referent, I hope to be able to say something about the visual necessity: about both the will to see and the will to be seen as well as to give an uncensored version of the symbolic register of red. In other words, what I am trying to do is to make the color open up semantically through a certain analysis, so that its more or less given meanings have their context elucidated.’

The current catalog number "Kvinnofigur i landskap" from 1994 shows ex– actly the elements that we recognize from the red period where we in the background see a greatly reduced but still recognizable image of a female figure.

249. 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 – 600 000 / EUR 47 400 – 56 880

246. Anders Knutsson (USA, 1937–), ‘Night–painting’.

Signed Anders Knutsson and dated 1981–82 on verso. Canvas laid on canvas 94 x 98 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

247. Carl Fredrik Reuterswärd (Sweden, 1934–2016), ‘Non–Violence Knotted Gun’.

Signed CFR. Executed in 2018, edition 26/75. Patinated bronze, length 32 cm on stone base. A certificate from Non–Violence Project Foundation accompanies the lot. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

248. Juri Markkula (Sweden, 1970–), ‘Red Wall’.

Signed Juri Markkula and dated 2009 on verso. Falun Red Paint on MDF relief 50 x 50 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

249. Ola Billgren (Sweden, 1940–2001), ‘Kvinnofigur i landskap’.

Signed Ola Billgren and dated –94 on verso. Oil on canvas 156 x 100 cm. (d)

Estimate: SEK 500 000 – 600 000 / EUR 47 400 – 56 880

250. Dan Wolgers (Sweden, 1955–), ‘Objekt II’.

Signed Dan Wolgers and dated 1991. Edition 7/10. Glow bulbs and silicone mounted on wooden base. Height 29 cm.

Provenance: Andréhn–Schiptjenko, Stockholm.

Literature: Pontus Hultén and Dan Wolgers, ‘Dan Wolgers – 120 verk 1977–1996’, 1996, illustrated p. 64. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

251. Peter Frie (Sweden, 1947–), Untitled.

Signed P Frie verso. Oil on panel in artist's frame 140 x 100 cm.

Provenance: Lars Bohman Gallery, Stockholm. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

252. Lena Cronqvist (Sweden, 1938–), ‘Kungabarnen’.

Signed Lena Cronqvist and dated 2002. Canvas 56 x 42 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

253. Lena Cronqvist (Sweden, 1938–), Untitled.

Signed Lena Cronqvist. Pencil on paper 26 x 18.3 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Drawings’, 18 February– 18 March 2012. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

254. Jacob Dahlgren (Sweden, 1970–), ‘Peinture Abstraite (medium), numéro soixante–dix–neuf’.

Signed Jacob Dahlgren and dated 2002 on verso.

Acrylic on MDF 47 x 35 cm.

Provenance: Galleri Charlotte Lund, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

255. Jim Thorell (Sweden, 1981–), ‘Turin Thunderbolt’.

Signed Jim Thorell and dated 2015 on verso. Acrylic, ink and oil on linen 195 x 140 cm.

Provenance: Carl Kostyál, Stockholm.

Private Collection.

Exhibitions: Carl Kostyál, Isbrytaren Projects, ‘Jim Thorell, Lucid Memes’, 15 January – 12 February 2015. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

256. Ellisif Hals (Norway, 1981–), ‘Prospekt #1’.

Signed EH and dated 13. Dry point collage on paper 42 x 69 cm.

Provenance: Galleri Arnstedt, Båstad. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

257. Lena Johansson (Sweden, 1975–), ‘Rosa bikini’.

Signed Lena Johansson and dated 2005 on verso.

Four panels 28 x 35.3 cm each.

Provenance: Kabusa Konsthall, Glemmingebro.

Exhibitions: Kabusa Konsthall, Glemmingebro, ‘Kabusa Invited’, 4 August – 3 September 2006. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 320 – 3 800

261. Maria Miesenberger, ‘Half an Angel’.

Signed Maria Miesenberger and dated 2002/09, edition 2/5. Bronze, height 120 cm. (d) Estimate: SEK 500 000 – 600 000 / EUR 47 400 – 56 880

261. Maria Miesenberger, ‘Half an Angel’.

Signed Maria Miesenberger and dated 2002/09, edition 2/5. Bronze, height 120 cm. (d) Estimate: SEK 500 000 – 600 000 / EUR 47 400 – 56 880

MARIA MIESENBERGER Children are constantly present in Maria Miesenberger’s art. Such a starting point might easily be idealised, but not in the case of Miesenberger, who takes a critical approach to gender, norms and childhood. Just as in Miesenberger’s photographic pictures containing blacked–out and reworked images from the family photo album, in the sculpture ‘Half an Angel’, she has erased all personal characteristics and attributes. Something of the child in the artist’s photographs seems to have stepped out and taken three-dimensional form. Like the dancing, blurred surface of the photographs, the profile of the aluminium sculpture has been softened by patterns reminiscent of fingerprints swirling around the whole of the small child’s body. With a child’s intuitive curiosity, the little body stretches upwards and forwards, towards the world and towards new experiences – towards life!

The auction’s version of ‘Half an Angel’ is a forerunner of the monumental version that stands in Telenor’s head office in Fornebu outside Oslo. Another example of the small–scale version is in the park of Solliden Palace on the island of Öland.

Estelle af Malmborg describes the large sculpture in Oslo as follows: ‘... Half an Angel (2002), a 7.6 metre–high aluminium girl languidly stretching, unaware of the world around her, with one arm behind her head like an angel’s wing. As in many of her aluminium pieces, Maria Miesenberger has worked on the surface, creating an organic pattern of whorls. This soft effect attracts the eye, breaking away from a tougher genre of sculpture weighed down by tradition.’

Miesenberger’s imagery exists on many different levels. It spans opposites such as present and past, dark and light, the individual and the collective, joy and sorrow. The artist is not interested in telling her own story. Instead, she throws the question back on the viewer, asking what is your history, what is your story, your experience? Her art is imbued with a strong vein of curiosity paired with a large portion of humility. Taking the self and the individual as her starting point, she is able to pose highly and constantly relevant questions about what it actually means to be human.

258. Ragnar Persson (Sweden, 1980–), Untitled.

Signed Ragnar. Mixed media and collage on paper 41.4 x 58.2 cm.

Provenance: Gunnar Smoliansky Collection, Stockholm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

259. Alfred Boman (Sweden, 1981–), Untitled.

Signed Alfred Boman and dated 2014 on vero. Glue Emulsion, enamel varnish, acrylic and spray–paint on canvas, artist's wooden frame 190 x 145 cm.

Provenance: Prism, Los Angeles.

Exhibitions: Prism, Los Angeles, ‘Alfred Boman: Body Paint’, 20 May – 28 June 2014. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

259A. Truls Melin (Sweden, 1958–2022), ‘Drunknade sjömän III’.

Executed in 2004. Painted iron and bronze. Height 172 cm, width 116 cm, depth 67 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Private Collection, Sweden.

Exhibitions: Lars Bohman Gallery, Stockholm, "Truls Melin", 3 April - 9 May 2004. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

260. Hertha Hanson (Sweden, 1980–), ‘#158’.

Signed Hertha Hanson and dated 2015 on verso. Canvas 120 x 120 cm.

Provenance: Vargåkra Konsthall, Hammenhög.

Acquired from the above on the 15th of September 2015 by the present owner. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

261. Maria Miesenberger (Sweden, 1965–), ‘Half an Angel’.

Signed Maria Miesenberger and dated 2002/09, edition 2/5.

Bronze, height 120 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Exhibitions: Carl Eldhs Ateljémuseum, Stockholm, ‘Half an Angel - Maria Miesenberger’, 4 May – 1 October 2017. Another edition exhibited.

Läckö Castle, Lidköping, ‘Maria Miesenberger, konst, foto & skulptur’, 2016.

Artipelag, Stockholm, ‘Den monokroma symfonin’, 16 oktober 2015 – 28 mars 2016.

Literature: Åsa Cavalli–Björkman and Elle–Kari Gustafsson (ed), ‘Carl Eldhs Ateljémuseums exhibition catalogue nr. 5’, 2017, illustrated fullpage p. 5. (d)

Estimate: SEK 500 000 – 600 000 / EUR 47 400 – 56 880

262. Britta Marakatt–Labba (Sweden, 1951–), ‘Reahppen/Rökhål’.

Signed Britta and dated –89. Embroidery 8 x 10 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 760 – 950

263. Linn Fernström (Sweden, 1974–), ‘Talk Bubble’.

Signed Linn Fernström and dated 2014 on verso. Oil on canvas 61 x 76.3 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Linn Fernström, Prata bubbla på ett strå’, 21 August – 21 September 2014.

Literature: Lars Bohman Gallery, ‘Linn Fernström, Målningar och skulpturer’, 2014, illustrated full page p. 19. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 850 – 14 220

264. Peter Frie (Sweden, 1947–), ‘Some Trees on July 1’.

Signed Peter Frie on verso. Oil on canvas in artist's frame 141.5 x 105 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Peter Frie, Some Trees’, 18 January – 23 February 2014. (d)

Estimate: SEK 140 000 – 160 000 / EUR 13 270 – 15 170

265. Lisa D Manner (Sweden, 1979–), 'Klor'.

Signed Lisa D Manner and dated 2008 on verso.

Oil on canvas 180 x 180 cm.

Provenance: Galleri Magnus Åklundh, Malmö.

Dan–Ola and Ann Christine Larsson Collection, Sweden.

Literature: Lisa D Manner, ‘Lisa D Manner’, 2012, illustrated p. 34. (d)

Estimate: SEK 70 000 – 80 000 / EUR 6 640 – 7 590

266. Lars Lerin (Sweden, 1954–), Untitled.

Signed Lars Lerin and dated 2000. Watercolour on paper, collage 57 x 76 cm. (d)

Estimate: SEK 150 000 – 175 000 / EUR 14 220 – 16 590

267. Ernst Billgren (Sweden, 1957–), ‘Hundar’.

Signed Ernst Billgren and dated –89 on verso. Oil on panel in artist's frame with bronze 170 x 90 cm.

Provenance: Lars Bohman Gallery, Stokholm.

Stockholms Auktionsverk, 22 maj 2012.

Private Collection, Sweden. (d)

Estimate: SEK 200 000 – 250 000 / EUR 18 960 – 23 700

268. Marie–Louise Ekman (Sweden, 1944–), ‘Fågel med sällskap och ben–tapet’.

Signed Marie–Louise Ekman and dated 1999. Mixed media on canvas 40 x 62 cm.

Provenance: Galerie Aronowitsch, Stockholm.

Exhibitions: Galerie Aronowitsch, Stockholm, exhibited in September 1999. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

269. Emily Sundblad (Sweden, 1977–), Untitled.

Signed Emily and dated 2011 on verso. Acrylic on canvas laid on panel 40.5 x 30 cm.

Provenance: Lars Bohman Gallery, Stockholm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

LINN FERNSTRÖM Linn Fernström is an artist of contrasts. There is space for extremes in her often large canvases; where beauty meets grotesque, idyllic is juxtaposed with terrifying, delicate blended with powerful, and large interacts with small. Perhaps it is simply that Linn Fernström is the artist that paints Life. Without evaluating the ingredients that fill our days and years with events and impressions on any internal scale, Linn Fernström allows them to reconfigure each other, interacting hand in hand in a space given them by the artist. Linn Fernström is a conductor directing an experimental orchestra with an iron hand. Sound paradoxical? Perhaps, but that is precisely where her strength and uniqueness lie.

Linn Fernström holds a unique position in Swedish contemporary art. Stubborn and determined, and utterly uninterested in trends, she has created a platform for herself.

Linn Fernström’s most recent exhibition took place at Liljevalchs+ on 29 October 2021 – 20 February 2022.

273. Linn Fernström, ‘Clownen’ (detail).

Signed Linn Fernström and dated 2007 on verso. Oil on canvas 190 x 260 cm. (d) Estimate: SEK 400 000 – 500 000 / EUR 37 920 – 47 400

270. Peter Frie (Sweden, 1947–), ‘Passing #013’.

Signed Peter Frie and dated 2006 on verso. Oil on canvas 40 x 30 cm.

Provenance: Arnstedt & Kullgren, Båstad. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

271. Andreas Eriksson (Sweden, 1975–), ‘Trädstam’.

Signed Andreas Eriksson and dated 2007 on verso.

Oil on canvas 150 x 120 cm.

Provenance: Galleri Thomas Wallner, Simris. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 220 – 18 960

272. Lars Lerin (Sweden, 1954–), Untitled.

Signed Lars Lerin and dated 2018. Watercolour on paper 28 x 38 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

273. Linn Fernström (Sweden, 1974–), ‘Clownen’.

Signed Linn Fernström and dated 2007 on verso.

Oil on canvas 190 x 260 cm.

Provenance: Lars Bohman Gallery, Stockholm.

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

Literature: Dan Wolgers (red), Lars Bohman Gallery, ‘Linn Fernström, Målningar 2006–2008’, 2008, illustrated full page p. 13. (d)

Estimate: SEK 400 000 – 500 000 / EUR 37 920 – 47 400

274. Jacob Dahlgren (Sweden, 1970–), ‘Peinture Abstraite, numéro cent trente cinq’.

Signed Jacob Dahgren on verso. Executed in 2006.

Acrylic on MDF 35.5 x 29 cm.

Provenance: Galleri Charlotte Lund, Stockholm. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

275. Marie–Louise Ekman (Sweden, 1944–), ‘Barn med näsduk och herre med hatt’.

Signed M.L. Ekman och dated 1997. Fake fur, plastic figures and acrylic glass. Height 11.5, width 11, depth 9 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

276. Ola Billgren (Sweden, 1940–2001), ‘Hyllning (Hyldest)’.

Signed Ola Billgren and dated –98 on verso. Oil on canvas 106 x 113 cm.

Provenance: Acquired directly from the artist by the present owner. (d)

Estimate: SEK 200 000 – 250 000 / EUR 18 960 – 23 700

277. Ola Billgren (Sweden, 1940–2001), Untitled.

Signed Ola Billgren and dated –72. Watercolour on paper 32 x 33.5 cm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

278. Ulf Rollof (Sweden, 1961–), Untitled.

Signed Ulf Rollof and dated 2016. Acrylic, float glass and metal mounts. Rounds of 9 mm revolver shots. 49 x 56 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

279. Martin Wickström (Sweden, 1957–), ‘36 views of Mount Fuji, Nr. 28’.

280. Cecilia Edefalk (Sweden, 1954–), ‘At the moment untitled’.

Signed Martin Wickström and dated 2009 on verso. Oil on MDF 50 x 50 cm.

Signed Cecilia Edefalk. Executed in 1987. Graphite on paper 30 x 20 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Gunnar Smoliansky Collection, Stockholm.

Exhibitions: Angelika Knäpper Gallery, Stockholm, ‘36’, 2009.

Literature: Greger Ulf Nilson (ed.), '10_20 Martin Wickström', 2021, illustrated p. 29 and listed under '36' in the list of works p. 49. (d)

Provenance: Stene Projects, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

281. Christian–Pontus Andersson (Sweden, 1977–), ‘Resting to transform II’.

Signed c.p.a and dated 2007. Edition 9. Porcelain.

Height 84 cm, width 36 cm.

Provenance: Christian Larsen, Stockholm.

Private Collection, Stockholm. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 740 – 6 640

281A. Robert Terry (Sweden, 1953–), ‘Hudson Scene’.

Signed Robert Terry and dated 2012 on verso. Oil on board 61 x 46 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Private Collection, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

Ernst Billgren’s, 'Vildsvin' is the original painting upon which IKEA Art Event's screenprint 'Premiär', created in 2006, is based. Lot 282.

282. Ernst Billgren (Sweden, 1957–), ‘Vildsvin’.

Signed EB. Executed in 2004. Oil on panel in artist's frame 137 x 195 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Private Collection, Sweden. (d)

Estimate: SEK 250 000 – 300 000 / EUR 23 700 – 28 440

283. Åsa Larsson (Sweden, 1968–), ‘Svamp’.

Signed Åsa L and dated –04. Oil on canvas 37 x 45 cm.

Provenance: Kabusa Konsthall, Glemmingebro.

Galleri Gunnar Olsson, Stockholm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 760 – 950

283A. Peter Frie (Sweden, 1947–), Untitled.

Signed Peter Frie and dated -91 on verso.

Oil on panel in artist's frame 54 x 69 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Private Collection, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

284. Anette Harboe Flensburg (Denmark, 1961–), ‘House of Destiny II’.

Signed Anette Flensburg on verso. Executed in 2006.

Canvas 110.5 x 180.5 cm.

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

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

285. Jan Håfström (Sweden, 1937–), ‘Berg’.

Signed Jan Håfström and dated 1970. Acrylic on canvas 202 x 104 cm including the original frame.

Exhibitions: Göteborgs Konsthall, ‘Närvarande’, autumn 1970.

Kulturhuset, Stockholm, ‘Svensk Prisma’, 1974.

Rooseum, Malmö, ‘Katarina Frostenson. Jan Håfström’, 1994.

Moderna Museet, Spåvagnshallarna, Stockholm, ‘Katarina Frostenson. Jan Håfström’, 1995.

Literature: Illustrated in the exhibition catalogue, Rooseum and Moderna Museet, ‘Katarina Frostenson. Jan Håfström’, 1994–95, p. 78. (d)

Estimate: SEK 200 000 – 300 000 / EUR 18 960 – 28 440

286. Anders Knutsson (USA, 1937–), Untitled.

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

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

287. Rolf Hanson (Sweden, 1953–), ‘Nirm’.

Signed Rolf Hanson and dated –82 on verso. Oil on six panels hinged together 80 x 109 cm.

Provenance: Fredrik Roos Collection (acquired from the artist).

Stockholms Auktionsverk, 27 September 2006, ‘Fredrik Roos nordiska samling’, lot no 120.

Private Collection, Helsinki.

Exhibitions: Stiftelsen Karlsvik, Stockholm, 10 Painters’, 1982.

Lunds Konsthall, ‘Sex utställningar’, 1983, cat no RH 10.

Borås Konstmuseum, 1983. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

288. Eva Löfdahl (Sweden, 1953–), Untitled.

Signed Eva Löfdahl and dated –87 on verso.

Acrylic on canvas 60 x 60 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

289. Barbro Bäckström (Sweden, 1939–1990), Untitled.

Iron net and painted plaster. Height 57 cm, width 25 cm.

Provenance: Galerie Aix, Stockholm.

Bukowski Auktioner, Moderna Höstauktionen 2003, lot. no 529:588. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

290. Dick Bengtsson (Sweden, 1936–1989), ‘Untitled’.

Signed Dick Bengtsson. Mixed media and collage on paper 35 x 51.5 cm.

Provenance: Galerie Belle, Västerås.

Nordén Auktioner, Stockholm.

Bo Siesjö Collection, Stockholm.

Stockholms Auktionsverk, Nutida, 16 November 2010, lot no. 1747.

Acquired from the above by the present owner. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

291. Per Fhager (Sweden, 1980–), ‘Secret of Mana’.

Signed PF. Executed in 2020. Diagonal stitch variations mounted to canvas 87.5 x 76.5 cm.

Provenance: Stene Projects, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

292. Alfred Boman (Sweden, 1981–), ‘Porcelain Bedlam’.

Signed Alfred Boman and dated 2014 on verso. Glue Emulsion, enamel varnish, acrylic and spray–paint on canvas, artist's wooden frame, 139.5 cm x 103.5 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

293. Julius Göthlin (Sweden, 1984–), ‘Modulated Doppler Shifted Signal’.

Signed Julius Göthlin and dated 2016 on verso. Airbrush on canvas 260 x 180 cm.

Provenance: Belenius/Nordenhake, Stockholm.

Exhibitions: Belenius/Nordenhake, Stockholm, ‘Julius Göthlin, Automatic Target Recognition’, 3 June – 3 July 2016. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

294. Willem Andersson (Sweden, 1980–), ‘Tear you hair and burn down your churches’.

Signed Willem Andersson and dated 2015. Jesmonite and burnt wood on wooden base.

Provenance: Galleri Niklas Belenius, Stockholm.

Private Collection, Sweden. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

294. Willem Andersson (Sweden, 1980–), ‘Tear you hair and burn down your churches’.

Signed Willem Andersson and dated 2015. Jesmonite and burnt wood on wooden base.

Provenance: Galleri Niklas Belenius, Stockholm.

Private Collection, Sweden. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

295. Astrid Sylwan (Sweden, 1970–), ‘Brake out’.

Signed Astrid Sylwan and dated 2014 on verso. Diptych, acrylic on canvas and panel 132 x 90 cm.

Provenance: Galleri Andersson/Sandström, Stockholm.

Exhibitions: Eskilstuna konstmuseum, ‘Astrid Sylwan, A Fifth Season’, 15 November 2014–11 November 2015.

Literature: Eskilstuna konstmuseum, exhibition catalogue, illustrated. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

296. Marcus Mårtenson (Sweden, 1972–), ‘Famous excuses 2013’.

Signed MM and dated 2013 on verso. Pastel stick on panel 160 x 40 cm. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 850 – 3 320

297. Jeff Olsson (Sweden, 1981–), ‘A Performance in the Wilderness’.

Signed Jeff Olsson and dated 2008 on verso. Pencil and mixed media on paper 132 x 227 cm.

Exhibitions: Liljevalchs konsthall, Stockholm, ‘Vårsalongen’, 2009. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

298. Lotta Antonsson (Sweden, 1963–), Untitled.

Executed in 2014. Unique. Analogue collage mounted to cardboard 73 x 103 cm including frame.

Exhibitions: Artipelag Konsthall, Stockholm, ‘Det synliga. Samtida svensk fotografi’, 7 February – 11 May 2014.

Literature: Lotta Antonsson e.a, ‘I Am A Woman’, 2016, illustrated. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

298A. Peter Frie (Sweden, 1947–), Untitled.

299. Martin Wickström (Sweden, 1957–), ‘Another Town’.

Signed Peter Frie on verso. Oil on canvas 180 x 130 cm.

Signed Martin Wickström and dated –12 on verso. Oil on canvas 121 x 120 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Private Collection, Stockholm. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 220 – 18 960

Provenance: Galleri Aveny, Gothenburg.

Exhibitions: Galleri Leger, Malmö, ‘Sunset Diaries’, 2012.

Literature: Greger Ulf Nilson (ed.), '10_20 Martin Wickström', 2021, illustrated p. 149 and listed under 'Sunset Diaries' in the list of works p. 165. (d)

Estimate: SEK 175 000 – 200 000 / EUR 16 590 – 18 960

300. Linn Fernström (Sweden, 1974–), ‘Bland ruiner’.

Signed Linn Fernström and dated 2010 on verso.

Charcoal on paper 66 x 50 cm.

Provenance: Galleri Arnstedt, Östra Karup. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

301. Yngve Rådberg (Sweden, 1968–), ‘The Fire’.

Signed Yngve Rådberg and dated 2007 on verso. Oil on plexi glass 26 x 40 cm.

Provenance: Galleri Gunnar Olsson, Stockholm.

Bo Siesjö Collection, Stockholm.

Stockholms Auktionsverk, 2010–09–29, lot no 106.

Acquired from the above by the present owner. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 320 – 3 800

302. Clay Ketter (Sweden, 1961–), 'There Is'.

Signed Clay Ketter and dated 2006 on verso. Diasec mounted photo, sand polymer, oil and acrylic paints, shellac and wallboard compund on gypsum wallboard, masonite, wood frame, 120 x 120 cm.

Provenance: Gallery Sonnabend, New York. Acquired in 2006.

Dan-Ola and Ann Christine Larsson Collection, Sweden.

Literature: Magnus af Petersens (ed), Moderna Museet, "Clay Ketter", 2009, illustrated fullpage p. 179. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

303. Ola Billgren (Sweden, 1940–2001), ‘Röd Terräng’.

Signed Ola Billgren and dated –83 verso. Canvas 42 x 66 cm.

Provenance: Galleri Göran Engström, Stockholm.

Apoteksbolagets Konstförening, lottery 1991.

Private Collection. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

304. Ulrik Samuelson (Sweden, 1935–), ‘Utan titel (Pokal)’.

Signed Ulrik Samuelson and dated –00 on verso. Canvas 93 x 93 cm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

305. Lena Cronqvist (Sweden, 1938–), ‘Självporträtt i grönt’.

Signed Lena Cronqvist. Canvas 132 x 90 cm.

Provenance: Galleri Lars Bohman, Stockholm. Acquired in 2006.

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

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

306. Anders Krisár ‘Untitled’.

Signed Krisár and dated 2011–12. Edition 1/3 +2 AP. Acrylic paint on polyester resin, polyurethane, board, oil paint, and screws. 109 x 39.4 x 68 cm. (d) Estimate: SEK 350 000 – 400 000 / EUR 33 180 – 37 920

ANDERS KRISÁR Anders Krisár (b. 1973, Stockholm) studied at Konstfack University of Arts, Crafts and Design in Stockholm and the School of Communication Arts in London, and as a composer at New York University.

He previously worked as an Art Director and started on his artistic path via photography. Krisár is a perfectionist and his sculptures are well–polished depictions of androgynous bodies.

An exhibition text from the Christian Larsen Gallery reads: ‘The pursuit of an impossible perfection and purity marks Anders Krisár’s entire artistic oeuvre. In an early interview, in connection with publishing of his award–winning photographic book Chords No. 1–17, Krisár expresses: I want to achieve absolute purity, to depict a world without people and thoughts. Since then, Krisár has included people in his artistic universe, but he chose to put them in a form as pure as was physically possible.

However, Krisár’s stripped, de–sexed and mute sculptural figures reveal something about a human emotional state that is far from ‘clean’. Krisárs sculptures with child torsos with deep imprints of an adult hand, or bodies split in two, holding hands with the other half – are in fact obsessively polished ‘Gordian knots’ of hurting, longing, splitting, and yearning to reunite. According to neurobiology and modern psychology, the pursuit of absolute purity and perfection is the brain's way of compensating for the inner emotional turmoil, and Krisár’s art seems to be a physical manifestation of this contradiction’.

306. Anders Krisár ‘Untitled’.

Signed Krisár and dated 2011–12. Edition 1/3 +2 AP. Acrylic paint on polyester resin, polyurethane, board, oil paint, and screws. 109 x 39.4 x 68 cm. (d) Estimate: SEK 350 000 – 400 000 / EUR 33 180 – 37 920

RYSZARD WINIARSKI Ryszard Winiarski (1936, Lviv – 2006, Warsaw), a Polish painter, stage designer and author of spatial forms. A Professor at the Academy of Fine Arts in Warsaw. A winner of Jan Cybis Award (1996). He was one of the major representatives of indeterminism in art. He held both a Master of Science degree as well as a degree in the Master of Arts.

Winiarski's art practice is based on mathematics and science. In his opinion, it was possible to build bridges between life, science, technology and art.’

He did not create ‘images’ but ‘areas,’ which came into being through increasingly more complicated functions of random variables. At the same time

the selected method allowed the artist to diversify techniques: he made three–dimensional, relief, kinetic, colourful objects. A project of arranging the interior of an individual exhibition in Zachęta National Gallery of Art as a monumental, prostrate image was a large-scale experiment (1970).

348. Ryszard Winiarski (Poland, 1936–2006),‘Obszar 112’ (Area 112).

Signed Winiarski and dated 1972 on verso. Acrylic on MDF 100 x 100 cm. (d) Estimate: SEK 400 000 – 600 000 / EUR 37 920 – 56 880

306. Anders Krisár (Sweden, 1973–), ‘Untitled’.

Signed Krisár and dated 2011–12. Edition 1/3 +2 AP. Acrylic paint on polyester resin, polyurethane, board, oil paint, and screws. 109 x 39.4 x 68 cm.

Provenance: Acquired from the artist.

Private Collection, Stockholm. (d)

Estimate: SEK 350 000 – 400 000 / EUR 33 180 – 37 920

307. Ylva Snöfrid (Ogland) (Sweden, 1974–), ‘Grotto, The Real World’.

Signed Ylva Ogland and dated 2015. Triptych, oil on canvas 207 x 252 cm.

Provenance: Fruit & Flower Deli, Stockholm.

Private Collection, Stockholm.

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

Literature: Bonniers Konsthall och Silvana Editoriale, ed. Sara Arrhenius and others, ‘Ylva Ogland, She, an introduction’, Stockholm, 2015, illustrated full page p. 19. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 220 – 18 960

308. Rolf Hanson (Sweden, 1953–), Untitled.

Signed Rolf Hanson. Tempera on paper 106 x 76 cm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

309. Lars Lerin (Sweden, 1954–), ‘Oslo Natt I’.

Signed Lars Lerin and dated 1999. Watercolour on paper 99 x 150 cm. (d)

Estimate: SEK 250 000 – 300 000 / EUR 23 700 – 28 440

310. Ernst Billgren (Sweden, 1957–) ‘Samling i kronan’.

Signed EB. Mixed media on panel 135 x 105 cm. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 850 – 14 220

310A. Fredrik Wretman (Sweden, 1953–), ‘Minitrans’.

Signed Fredrik Wretman and dated 2007. Polyurethane. Height 29 cm.

Provenance: Galleri Flach, Stockholm. Acquired in 2007 by the present owner. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

311. Jarl Ingvarsson (Sweden, 1955–), ‘UTE’.

Signed Jarl Ingvarsson and dated 2017 on verso. Canvas 60 x 60 cm.

Provenance: Galleri 1, Gothenburg. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

312. Olle Borg (Sweden, 1960–), Untitled.

Executed in 1990. Oil and enamel on aluminum 90 x 90 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

313. Rolf Hanson (Sweden, 1953–), ‘Tourgoasi’.

Signed Rolf Hanson on verso. Executed in 1990. Panel 148 x 180 cm.

Provenance: Björn Bengtsson Collection, Varberg.

Literature: Lars–Göran Oredsson, Svensk Nutidskonst 6, 1994, Rolf Hanson, illustrated on p. 30.

Lars Nittve (ed.), ‘Rolf Hanson’, 1995, illustrated on p. 12. (d)

Estimate: SEK 175 000 – 200 000 / EUR 16 590 – 18 960

314. Lena Cronqvist (Sweden, 1938–), Untitled.

Signed Lena Cronqvist. Painted ceramic sculpture, height 13 cm.

Provenance: Acquired from the artist by the present owner. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

315. Marcus Mårtenson (Sweden, 1972–), ‘Famous Psychologically Damaging Traits of Narcissism’.

Signed MM and dated 2010 on verso. Pastel stick on panel 35 x 50 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Literature: Angelika Knäpper Gallery, Stockholm, "Marcus Mårtenson, Stay Motivated", 2012, illustrated fullpage. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

316. Vanna Bowles (Sweden, 1974–), ‘Cultivation’.

Signed Vanna Bowles and dated 2009 on verso. Three dimensional painting in pencil and assemblage on paper 70 x 70 x 15 cm.

Provenance: Angelika Knäpper Gallery, Stockholm. Acquired in 2010 from the above.

Private Collection, Stockholm.

Exhibitions: Angelika Knäpper Gallery, Stockholm, ‘Wild Tree’, 8 April – 2 May 2010.

Literature: Vanna Bowles and Linn Cecilia Ulvin, ‘Wild Tree – Vanna Bowles’, 2010, illustrated full page p. 12. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

317. Johan Nobell (Sweden, 1963–), ‘Mr. Balk’.

Exectued 2005. Canvas 48 x 63 cm.

Provenance: Andréhn–Schiptjenko, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

318. Magnus Larsson (Sweden, 1972–), Untitled.

Executed in 2008. Oil on canvas 30 x 23 cm.

Provenance: Milliken Gallery, Stockholm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 760 – 950

319. Magnus ‘NUG’ Gustafsson (Sweden, 1972–), Untitled.

Signed NUG © and dated 2012. Mixed media on canvas 100 x 73 cm, 73 x 60 cm and four 61 x 50 cm.

Provenance: Galleri 19, Oslo. (d) 12% Import VAT will be charged on the hammer price on this lot.

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

320. Clay Ketter (Sweden, 1961–), ‘Sketch for wall painting – clear’.

Signed Clay Ketter and dated 93 on verso. Silicone and mixed media on gypsum board.

Provenance: Galleri Andreas Brändström, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

321. Dan Wolgers (Sweden, 1955–), ‘Self’.

Signed Dan Wolgers and dated 2016 verso. Plaster and glass 30 x 18 x 14 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Exhibitions: Galleri Magnus Karlsson, Stockholm, ‘Lars Arrhenius, Bella Rune & Dan Wolgers, Spotlight #1’, 18 February – 21 February 2016. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

322. Rolf Hanson (Sweden, 1953–), ‘Tienkou’.

Signed Rolf Hanson and dated 82–84 verso. Panel 130 x 255 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

323. Per Olof Ultvedt (Sweden, 1927–2006), Untitled.

Signed P.O. Ultvedt and dated –89 on verso. Mobile. Painted wood with rotating discs and electric engine 61 x 61 cm. Later mounted on base. Total height 191 cm.

Provenance: Bukowskis, ‘Moderna Höstauktionen 2001’, lot 411.

Private Collection, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

325. Klara Kristalova (Sweden, 1967–), ‘Blir Björk’.

Signed K. Kristalova and dated 2010. Glazed stoneware, height 68 cm.

Provenance: Sveriges Allmänna Konstförening, 1st prize 2010. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

324. Ola Billgren (Sweden, 1940–2001), ‘Slätt’.

Signed Ola Billgren and dated –93 on verso. Oil on canvas 62 x 83 cm.

Provenance: Apoteksbolagets Konstförening, lottery.

Private Collection, Sweden. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 850 – 14 220

325. Klara Kristalova (Sweden, 1967–), ‘Blir Björk’.

Signed K. Kristalova and dated 2010. Glazed stoneware, height 68 cm.

Provenance: Sveriges Allmänna Konstförening, 1st prize 2010. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

326. Roj Friberg (Sweden, 1934–2016), ‘Monument’.

Signed Rf. and dated 010. Mixed media on aluminum 60 x 81.5 cm.

Provenance: Kunstverket Hovedöya Galleri, Oslo. Acquired in 2011 by the present owner.

Exhibitions: Kunstverket Hovedöya Galleri, Oslo, ‘Roj Friberg Retrospektiv’, 7 May – 26 June 2011. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 320 – 3 800

326A. Linn Fernström (Sweden, 1974–), ‘The Tomboy’.

Signed Linn Fernström and dated 2003. Oil on canvas 100 x 140 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Private Collection, Stockholm.

Literature: Dan Wolgers (red), Lars Bohman Gallery, "Linn Fernström, Målningar 2006-2008", 2008, illustrated full page p. 59. (d)

Estimate: SEK 200 000 – 250 000 / EUR 18 960 – 23 700

327. Kristina Jansson (Sweden, 1967–), ‘Yellow Pushing Pulling’.

Signed Jansson and dated 08. Canvas 63 x 50 cm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

328. Anders Krisár (Sweden, 1973–), ‘Arm (right)’.

Signed Krisár and numbered 3/3. Executed in 2006. Acrylic paint, polyester resin, polyurethane and oil paint 35.5 x 7 x 5.5 cm. Total edition 3 + 1 AP. Literature: Anders Krisár, 'Anders Krisár', 2011, illustrated full page p. 155. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

329. Juri Markkula (Sweden, 1970–), Untitled.

Signed Juri Markkula and dated 2009 on verso. Painted wood 50 x 50.5 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

330. Bjarne Melgaard (Norway, 1967–), ‘Untitled’.

Executed in 2013. Canvas 297 x 199 cm.

Provenance: Lars Bohman Gallery, Stockholm. (d)

Estimate: SEK 275 000 – 350 000 / EUR 26 070 – 33 180

331. Alexander Tallén (Sweden, 1988–), ‘Somewhere Hidden’.

Signed A Tallén and dated 2018. Painted porcelain. Height 33.5 cm, width 9 cm.

Provenance: Stene Projects, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

332. Kristján Davíðsson (Iceland, 1917–2013), Untitled.

Signed K. Davidsson and dated '97. Acrylic on canvas 150 x 135 cm.

Provenance: Carnegie Art Award, 1998.

Private Collection, Stockholm.

Exhibitions: Carnegie Art Award, 1998. (Konstakademien, Stockholm 20/10–1/11 1998; Sophienholm, Lyngby 15/11–29/11 1998; Sternersenmuseet, Oslo 11/12–27/12 1998; Helsingin Taidehalli, Helsingfors 9/1–24/1 1999; and Listasafn Islands, Rekjavik 6/2–21/2 1999) Literature: Ulrika Levén, ‘Carnegie Art Award – Nordic Painting 1998’, Stockholm 1998, illustrated full page p. 59. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

333. Jarl Ingvarsson (Sweden, 1955–), ‘Öresjö’.

Signed Jarl Ingvarsson and dated 1995 on verso. Canvas 140 x 190 cm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

334. Roger Risberg (Sweden, 1956–2011), ‘Bakom berget’.

Signed RR with monogram. Oil on canvas, 125 x 118 cm.

Provenance: Bukowski Auktioner, ‘Moderna Vårauktionen’, April 27–30, 2009, lot 519; Private Collection. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

335. Jan Håfström (Sweden, 1937–), Untitled.

Signed Jan Håfström and dated 1985. Mixed media on paper 98 x 70 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

331. Alexander Tallén (Sweden, 1988–), ‘Somewhere Hidden’.

Signed A Tallén and dated 2018. Painted porcelain. Height 33.5 cm, width 9 cm.

Provenance: Stene Projects, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

336. Jarmo Mäkilä (Finland, 1952–), ‘Camping’.

Signed Jarmo Mäkilä and dated 2012. Canvas 86 x 108 cm.

Provenance: Galerie Forsblom, Helsinki.

Private Collection, Sweden. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

337. Ola Billgren (Sweden, 1940–2001), Untitled.

Signed Ola Billgren and dated –58. Oil on canvas 58.5 x 61 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

337A. Lena Cronqvist (Sweden, 1938–), ‘Egyptisk Familj (Flicka II)’.

Signed LC. Edition 2/5 with stamp from H. Bergman Konstgjuteri, Stockholm.

Executed in 1993-94. Bronze, height 20 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Private Collection, Stockholm.

Literature: Galleri Lars Bohman (ed.), "Lena Cronqvist - Skulpturer", 1995, illustrated full page p. 43. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

338. Roger Risberg (Sweden, 1956–2011), ‘Linnea’.

Signed Roger Risberg and dated 1995. Canvas 81 x 65 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

339. Bjarne Melgaard (Norway, 1967–), Untitled.

Signed Bjarne Melgaard. Fabric and embrodery mounted on panel 135 x 65 cm.

Provenance: Maria A J Kalamaki Collection, Oslo. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

340. Luke Edward Hall (Great Britain, 1989–), ‘Yellow Corduroy Trousers II’.

Signed L.E. Hall and dated 2019. Watercolour on paper in artist's frame 44 x 34 cm.

Provenance: Arsenalsgatan 3, Stockholm.

Exhibitions: Arsenalsgatan 3, Stockholm, ‘Luke Edward Hall, Snake Charmer’, 15–31 May 2019. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

341. Gina Beavers (Greece, 1974–), ‘Getting Ready to Juice!’.

Signed Gina Beavers and dated 2012 on verso. Acrylic on canvas 40 x 41 cm.

Provenance: Clifton Benevento, New York.

Christie's, New York, ‘Online Auction 15882, First Open Online: Post–War and Contemporary Art’, 6–12 Dec 2018, lot 74.

Acquired by the present owner from the above. (d) 12% Import VAT will be charged on the hammer price on this lot.

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

xxx. xxxxx, ‘xxxxx’. xxxx. (d) Estimate: xxx – xxxx SEK / xxxx – xxxxx EUR

344. Robert Combas, ‘Horse’.

Signed and dated 1984. Acrylic on linen laid on panel 66.5 x 84.5 cm. (d) Estimate: SEK 300 000 – 400 000 / EUR 28 440 – 37 920

ROBERT COMBAS Robert Combas (1957) is a French artist who became world-famous for his protest against minimalist and conceptual art in the 1980s. A prominent figure in the art movement Figuration Libre, his colours and brush strokes became stronger, more daring and more expressionistic. For Combas, human beings and all their sides are central – we often encounter, wild, strong, sexual and sometimes violent scenes in his works. The format is often on a larger scale and stretched or cut canvases are a signature of his. The subjects can also be characterised by a kind of modern horror vacui, where pattern takes over the surface of the picture with almost hypnotic effect.

For a period, Combas was represented by Leo Castelli and exhibited with artists including Keith Haring but he has mainly lived and worked in France.

He has had a number of major retrospective exhibitions at venues including ARCA in Marseille (1984), Stedelijk in Amsterdam (1987), Musée d'art moderne de la Ville de Paris (1993), Fondation Mudima in Milan (2009) and the Grimaldi Forum in Monaco (2016).

345. Robert Combas, ‘L'Homme Crispée’ (detail).

Signed Combas and dated 83. Acrylic on canvas 217 x 99.5 cm. (d) Estimate: SEK 800 000 – 1 000 000 / EUR 75 830 – 94 790

342. Haley Mellin (USA, 1983–), Untitled.

Signed Haley Mellin and dated 2014 on verso. UV–cured ink on oil–primed linen 56 x 71.5 cm.

Provenance: Carl Kostyál, Stockholm.

Private Collection, Sweden.

Estimate: SEK 30 000 – 35 000 / EUR 2 850 – 3 320

343. Ron Gorchov (USA, 1930–2020), ‘Untitled, #4’.

Signed Ron Gorchov and dated © RON GORCHOV 1980 on verso. Mixed media on papier–mâché, convexly shaped and pressed 70 x 60 cm. Reinforced on the back with two wooden rods. Mounted in plexiglass box 76 x 66 x 20.5 cm.

Provenance: Private Collection, Gothenburg.

Estimate: SEK 200 000 – 250 000 / EUR 18 960 – 23 700

343A. Ron Gorchov (USA, 1930–2020), ‘Untitled, #20’.

Signed Ron Gorchov and dated © RON GORCHOV 1980 on verso.

Mixed media on papier-mâché, convexly shaped and pressed 69 x 59 cm.

Reinforced on the back with two wooden rods. Mounted in plexiglass box 75.5 x 65.5 x 20.5 cm.

Provenance: Private Collection, Gothenburg.

Estimate: SEK 200 000 – 250 000 / EUR 18 960 – 23 700

344. Robert Combas (France, 1957–), ‘Horse’.

Signed and dated 1984. Acrylic on linen laid on panel 66.5 x 84.5 cm.

Provenance: Galleri Origrafica, Malmö. Acquired from the above in 1989. Private Collection, Sweden (d)

Estimate: SEK 300 000 – 400 000 / EUR 28 440 – 37 920

345. Robert Combas (France, 1957–), ‘L'Homme Crispée’.

Signed Combas and dated 83. Acrylic on canvas 217 x 99.5 cm.

Provenance: Galleri Origrafica, Malmö. Acquired from the above in 1989.

Private Collection, Sweden. (d)

Estimate: SEK 800 000 – 1 000 000 / EUR 75 830 – 94 790

346. Donald Baechler (USA, 1956–2022), ‘Accept the next proposition you hear’.

Signed DB and dated 91. Mixed media on paper 30 x 22 cm.

347. Günter Umberg (Germany, 1942–), ‘Ohne title’.

Signed Günter Umberg and dated 1987 on verso. Pigment and dammar on aluminum 59.5 x 59.5 cm.

Provenance: Anders Thornberg Gallery, Lund. Acquired from the above by the present owner.

Provenance: Galerie Nordenhake, Stockholm. Acquired in 1987. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

Estimate: SEK 35 000 – 40 000 / EUR 3 320 – 3 800

348. Ryszard Winiarski (Poland, 1936–2006), ‘Obszar 112’ (Area 112).

Signed Winiarski and dated 1972 on verso. Acrylic on MDF 100 x 100 cm.

Provenance: Acquired from the artist.

Architect Jaakko Ylinen's Collection, Helsinki.

Private Collection, Helsinki. (d)

Estimate: SEK 400 000 – 600 000 / EUR 37 920 – 56 880

349. Frank Badur (Germany, 1944–), ‘8902’.

Signed Badur and dated 1989 on verso. Canvas 60 x 50 cm.

Provenance: Handelsbanken Art Lottery, 1989. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

350. David Shrigley (Great Britain, 1968–), ‘Untitled (I Endorse the Universe)’.

Signd DS and dated 2012 verso. Acrylic on paper 75.x 55.5 cm.

Provenance: Galleri Nicolai Wallner, Copenhagen. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

351. Allen Jones (Great Britain, 1937–), Untitled.

Signed Allen Jones and dated –79. Mixed media on paper 57 x 40 cm.

Provenance: Acquired from the artist.

Dr. Leonhardt Collection, Germany.

Private Collection, Denmark. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

352. César Baldaccini (France, 1921–1998), ‘Expansion au pot au lait’.

Signed César och numrerad 72/150. Resin and chromed steel. Height 15 cm, width 34 cm, depth 27 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

353. Arman (Armand Pierre Fernandez) (France, 1928–2005), ‘Colour Scape’.

Signed Arman. Colour tubes in plexiglass 100 x 100 cm. Executed in 1973, edition 75 + 10 AP. Registered with number 3535 in Archives Denyse Durand–Ruel.

Provenance: A.H. Grafik, Sweden.

Galleri Ferm, Gothenburg. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

353A. Li Jin (Sweden, 1958–), Untitled.

Signed Li Jin in red stamp. Ink and mixed media on paper 68.5 x 69.5 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Private Collection, Stockholm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

J O N AT H A N L A S K E R Jonathan Lasker is an American abstract painter whose art has played a major role in postmodern painting. During the early 1990s, Lasker was part of the loosely cohesive group that in New York was called ‘Conceptual painters’, and he has since then gained a number of followers with his innovative way of working. Lasker utilized the conceptual turn that happened in the art world in the 1980s and became involved in the new possibilities of painting, thus developing the abstract design language that has come to characterize his art. His approach to painting seems both rational and intellectual. Methodically and well–planned, he approaches the motif, which he builds up with well–defined lines. The formal language of his paintings is abstract, while the visual means range from simple line drawings to thick applications of color. His work challenges traditional perspectives on the relationship between foreground and background and between figure and line. Through strong composition structure and intelligent color choices

Lasker’s paintings become filled with energy and his art never fails to engage the viewer. At first, his art may seem like a playful approach to abstract art, but they are far from impulsive. Lasker creates an elegant and inventive game for the eye and the mind.

Today we find Lasker represented at, among others, MoMa in New York, Center Pompidou in Paris, Museum Ludwig in Cologne and the Moderna Museet in Stockholm. He is represented by some of the contemporary art scene’s foremost galleries such as Cheim & Read in New York and Thaddaeus Ropac in Paris.

357. Jonathan Lasker, ‘The Pleasure of Expression’.

Signed J. Lasker and dated 2000 verso. Oil on linen 152 x 203 cm.

Estimate: SEK 250 000 – 300 000 / EUR 23 700 – 28 440

STEPHAN BALKENHOL Stephan Balkenhol’s creativity relates to a long tradition of three–dimensional art. He studied with Ulrich Rüchriem and found his own sculptural language in contrast both with the minimalist tradition and the history of figurative sculpture. Using traditional tools like hammer and chisel, apparently ordinary men and women emerge from huge blocks of wood, figures he himself refers to as ‘Everyman’.

Balkenhol first attracted attention for his wood sculptures in 1987. In soft woods such as wawa and poplar, the figures take shape, the artist leaving the works with clear traces of his chisel. There are clear parallels with the marble sculptures of antiquity, but the most obvious difference is that Balkenhol’s figures are clothed. His wood sculptures are rough and painted in bright colours. They wear everyday clothes, giving no clues to their social status, job or personality. Facial expressions are always serious and neutral.

Paradoxically enough, this deidentification enables identification; they are no–one at all and at the same time they are each and every one of us.

Balkenhol’s sculptures have been shown in many institutions and public spaces including in Rome, London, Paris, Berlin and New York. He is represented in almost 100 international institutions, including Neue Pinakothek in Munich, the Peggy Guggenheim Collection in Venice, the National Museum of Art in Osaka, the Art Institute of Chicago and Hamburger Bahnhof in Berlin. To Swedish audiences, Balkenhol is best known for his two figures on stilts, six metres tall, that have stood outside Chalmers University of Technology in Gothenburg since 2004.

This spring, Balkenhol will have a solo exhibition at König Galerie in Berlin.

359. Stephan Balkenhol, ‘Relief (woman)’.

Signed Stephan Balkenhol and dated 2010 on verso.

Relief, painted wood 62 x 57.5 cm. (d) Estimate: SEK 200 000 – 250 000 / EUR 18 960 – 23 700

354. Christine Taylor Patten (USA, 1940–), '#19 from the series 'QED'’.

Executed in 1988. Ink and pen on paper mounted in plexiglass case 76 x 102 cm.

Provenance: Weissman Gallery, Malibu.

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

355. Malcolm Morley (Great Britain, 1931–2018), Untitled.

Signed Malcolm Morley. Watercolour on paper 30 x 45.5 cm.

Provenance: Christie's, New York NY, United States, ‘CONTEMPORARY ART’, 14 Feb 1991, lot 26.

Private Collection, Sweden. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

356. Jeffrey Steele (Great Britain, 1931–2021), ‘Sub Rosa’.

Signed Jeffrey Steele and dated 1966 on verso. Canvas 123 x 91.5 cm.

Provenance: Christian Larsen Collection, Stockholm.

Acquired from the above by the present owner. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

357. Jonathan Lasker (USA, 1948–), ‘The Pleasure of Expression’.

Signed J. Lasker and dated 2000 verso. Oil on linen 152 x 203 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Private Collection, Stockholm.

Estimate: SEK 250 000 – 300 000 / EUR 23 700 – 28 440

358. Gardar Eide Einarsson (Norway, 1976–), ‘Untitled (Stance)’.

Executed in 2008. Diptych, inkjet print on plywood 200 x 120 cm each.

Provenance: Nils Staerk Contemporary Art, Copenhagen.

NOCO Art Collection, Sweden.

Private Collection, Stockholm.

Exhibitions: Vestfossen Kunstlaboratorium, Norway, 15 March –15 October 2017.

Literature: Göran Christensen, ‘NOCO – Nordic Contemporary Art Collection’, illustrated p. 47. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

359. Stephan Balkenhol (Germany, 1957–), ‘Relief (woman)’.

Signed Stephan Balkenhol and dated 2010 on verso. Relief, painted wood 62 x 57.5 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Private Collection, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Stephan Balkenhol’, 28 August – 26 September 2010. (d)

Estimate: SEK 200 000 – 250 000 / EUR 18 960 – 23 700

N AT H A L I E D J U R B E R G & H A N S B E R G Djurberg and Berg are counted amongst Europe’s best and most unique artists. Djurberg creates stop–motion animations that musician and composer Berg, sets to music, in a close collaboration that began about fifteen years ago. Videos, spatial installations and sculptures form the foundation of their work. The relationship between humans, animals and forces of nature is the constant, vibrant theme that occupies their shared universe.

The duo’s work contains a large amount of dark humour as well as references to popular culture and art history. Berg’s hypnotic music evocatively emphasises the various emotional states, propelling the story forward. The characters’ sense of isolation is clear – they often project a kind of loneliness, have low self–esteem or a distorted self–image, and looks or behaviours that aren’t usually socially accepted.

The suffering, the inertia, the anger and the sadness – it is all a reflection of the artist herself, even if the events and the characters aren’t autobiographical. As the stories generally tend not to have a clear beginning or an end they are left open to interpretation. Perhaps something happens in a parallel world that changes the ending of the video, or lets it begin where the previous one ended? The films are often about daring to face your nightmares or fears, and having the courage to see what can come out of those encounters.

The world is in constant transformation in Djurberg’s videos. Bodies lose their shapes and acquire new ones in complicated and grotesque metamor– phoses. The boundary between animal and human is fluid – they move in the same worlds. The narrative technique is reminiscent of classic children’s stories. At first glance the films appear to follow a traditional narrative, but then surprise the viewer by turning into something completely unexpected.

The characters, through instinctive actions, affirm and explore their sexuality and bestiality.

The work in the auction, ‘One Last Trip to The Underworld (Strawberry Red and Blue)’ was exhibited at the Tanya Bonadkar Gallery in New York in 2019 alongside other sculptures representing large flowers and birds in prehistoric form. The exhibition was also the world premiere of four new

films by the duo. One of the films shown bears the same title as the sculpture in the auction and the exhibition: ‘One Last Trip to The Underworld’.

The over–dimensioned sculptures created a brightly coloured, forest–like landscape in the exhibition halls, adding a further dimension of light and space to the animations.

Ann McCoy writes in her review of the exhibition ‘Nathalie Djurberg & Hans Berg: One Last Trip to The Underworld’ in The Brooklyn Rail: ‘These sculptural takes on Les Fleurs du mal [The Flowers of Evil] (1857), are more modeled and polished than the figures in the videos, and have an atelier produced feel. This is a dark version of the Garden of Eden, like the one in Tennessee Williams’s play Suddenly Last Summer (1958), where all of the plants were carnivorous and consumed live flesh.’

Djurberg & Berg’s solo show at the Kunsthalle Luzern, Switzerland will open to the public this April, followed by a solo presentation at Musée d’Art Contemporain in Lyon, France in 2023.

Djurberg and Berg’s work has been included in group exhibitions at Stedelijk Museum voor Actuele Kunst/Museum of Fine Arts, Ghent, Belgium (2010); Kunsthaus Zürich, Zurich, Switzerland, (2012); Museum der Moderne, Salzburg, Austria (2013); Haus der Kunst, Munich, Germany, (2014); Palais de Tokyo, Paris, France (2015; Albright–Knox Art Gallery, New York, (2015); Julia Stoschek Collection, Düsseldorf, Germany (2017); to name a few.

The artists works are represented in the collections of Fondazione Prada, Milan; Goetz Collection, Munich; Hammer Museum, Los Angeles; Moderna Museet, Stockholm; Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York, Kunsthaus Züruch, Zürich; and Whitechapel, London, among others.

363. Nathalie Djurberg & Hans Berg, ‘One Last Trip to The Underworld (Strawberry Red and Blue)’.

Signed certificate included in lot. Executed in 2019. Spray paint on epoxy putty, steel, wood. The height of the sculpture: 72 cm, inc. the blue base 93 cm. A white podium (h: 51 cm) and plexi glass box (h: 105.5 cm) also included in lot. (d) Estimate: SEK 600 000 – 800 000 / EUR 56 880 – 75 830

360. Petra Cortright (USA, 1986–), ‘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 150 000 – 200 000 / EUR 14 220 – 18 960

361. Peter Buechler (Germany, 1965–), ‘Untitled’.

362. Ted Gahl (USA, 1983–), ‘860/203 (House Painter)’.

Signed Peter Buechler and dated XII/2008 verso. Oil on canvas 120 x 150 cm.

Signed TG and dated '13 on verso. Canvas 122 x 61 cm.

Provenance: Galerie Morgen, Berlin.

Literature: Peter Buechler, Max Glauner, ‘Impressum/Imprint’, 2010, illustrated. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 900 – 2 850

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

363. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘One Last Trip to The Underworld (Strawberry Red and Blue)’.

Signed certificate included in lot. Executed in 2019. Spray paint on epoxy putty, steel, wood. The height of the sculpture: 72 cm, inc. the blue base 93 cm. A white podium (h: 51 cm) and plexi glass box (h: 105.5 cm) also included in lot.

Provenance: Tanya Bonadkar Gallery, New York.

Private Collection, Stockholm.

Exhibitions: The Armory Show, Tanya Bonadkar Gallery, New York, ‘This is Heaven’, 7–10 March 2019.

Tanya Bonadkar Gallery, New York, ‘Nathalie Djurberg & Hans Berg: One Last Trip to The Underworld’, 1 November – 20 December 2019. (d)

Estimate: SEK 600 000 – 800 000 / EUR 56 880 – 75 830

364. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘Bang Your Little Drums’.

Signed Nathalie Djurberg and Hans Berg. Executed in 2012. Animated film, DVD and Digital Betacam, 10:41 min. Edition 2/4. Total edition 4 +2 AP. Signed certificate included in lot.

Provenance: Gió Marconi, Milan.

Private Collection.

Exhibitions: Eva Livijn, Stockholm, ‘Can't Keep it in, Can’t Lock it Away’, 20 October – 2 December 2021.

Australian Centre for Contemporary Art, Melbourne, ‘The Secret Garden’, 15 October 2015.

Zach Feuer, New York, ‘Nathalie Djurberg & Hans Berg’, 26 February - 30 March 2013. (d)

Estimate: SEK 175 000 – 200 000 / EUR 16 590 – 18 960

365. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘I am a Wild Animal’.

Signed Nathalie Djurberg and Hans Berg. Executed in 2011. Animated film, DVD and Digital Betacam, 4:43 min. Edition 3/4. Total edition 4 +2 AP. Signed certificate included in lot.

Provenance: Gió Marconi, Milan.

Private Collection.

Exhibitions: Camden Art Centre, London, ‘A World of Glass’, 7 October 2011 — 8 January 2012. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 220 – 18 960

CHRISTO The artists Christo (1935–2020) and Jeanne–Claude (1935–2009) worked together for over 50 years. Their enormous and astounding art projects of city and landscape elements made them world–famous. They mastered the whole creative process from idea and documentation to realization.

of the 3,100 umbrellas could be recycled. The fact that the project was carried out in Japan and in the USA at the same time was to point out the similarities and differences in the way of life and use of the land in the respective valleys.

Before the projects were realized in full size, the artistic idea emerged in preparatory sketches, collages, drawings, and scale models. These works of art made in Christo's studio should be considered the most important steps in the creative process. They all have their own value and document the artistic development of the project. The work in the auction ‘The Umbrellas (Project for Japan and Western USA)’ from 1989 is one such original work.

Christo and Jeanne–Claude’s website states the following: ‘In the precious and limited space of Japan, the umbrellas were positioned intimately, close together and sometimes following the geometry of the rice fields. In the luxuriant vegetation enriched by water year round, the umbrellas were blue.

In the California vastness of uncultivated grazing land, the configuration of the umbrellas was whimsical and spreading in every direction. The brown hills are covered by blond grass. In that dry landscape, the umbrellas were yellow.’

The temporary work, which was only live for 18 days, was funded entirely by ‘The Umbrellas, Joint Project for Japan and the U.S.A. Corporation’ (Jeanne–Claude, Christo–Javacheff, President). The entire temporary project cost $ 26 million to complete.

On October 9, 1991, 960 people gathered in the United States and 920 people in Japan to jointly carry out the installation ‘The Umbrellas’. Every umbrella was 6 meters tall and had a diameter of 8.66 meters. Dismantling began on October 27, 1991, and the terrain on which they stood was restored and most

369. Christo & Jeanne-Claude, ‘The Umbrellas (Project for Japan and Western USA)’.

Signed Christo and dated 1989. Diptych. Collage on panel, pencil, charcoal, crayon, pastel, fabric, map and bic pen. Mounted with plexiglass, 78.2 x 67.2 cm and 78.2 x 31.2 cm.

Estimate: SEK 800 000 – 1 000 000 / EUR 75 830 – 94 790

366. David Shrigley (Great Britain, 1968–), ‘Untitled (Sorry)’.

367. Raffi Kalenderian (USA, 1981–), ‘Nina (Villa Somura)’.

Signed DS and dated 2012 verso. Acrylic on paper 75 x 55.5 cm.

Signed Raffi Kalemdrian and dated 2006 on verso. Canvas 148 x 112 cm.

Provenance: Galleri Nicolai Wallner, Copenhagen. (d)

Provenance: Black Dragon Society, Los Angeles.

Private Collection, Sweden.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

368. Russell Young (USA, 1959–), ‘Mick Jagger – Reggie Kray, do you know my name’.

368A. Richard Phillips (USA, 1962–), ‘The Dead Do Not Revolt (After Aslan)’.

Signed Russell Young and dated 2010 verso. Certificate issued by Guy Hepner Contemporary in 2010 accompanies the lot. Unique.

Acrylic, enamel och diamond dust on linen 157.5 x 120.5 cm.

Executed in 2008. Oil on canvas 182.8 x 141.5 cm.

Provenance: Guy Hepner, Hollywood.

Private Collection, Stockholm.

Estimate: SEK 150 000 – 200 000 / EUR 14 220 – 18 960

Provenance: Gagosian Gallery, New York.

Private Collection, Stockholm. Acquired from the above in 2009.

Literature: Gagosian Gallery, ‘Richard Phillips - New Museum’, 2009, illustrated full page p. 18.

S Magazine, ‘Richard Phillips social services’, 2009, illustrated full page p. 75.

Marcus Steinway, ‘Richard Phillips: Negation of the Universe’, 2014, illustrated full page p. 210.

Estimate: SEK 200 000 – 300 000 / EUR 18 960 – 28 440

369. Christo & Jeanne-Claude (USA, 1935–2020), ‘The Umbrellas (Project for Japan and Western USA)’.

Signed Christo and dated 1989. Diptych. Collage on panel, pencil, charcoal, crayon, pastel, fabric, map and bic pen. Mounted with plexiglass, 78.2 x 67.2 cm and 78.2 x 31.2 cm.

Provenance: Acquired directly from the artist.

Private Collection, Stockholm.

Estimate: SEK 800 000 – 1 000 000 / EUR 75 830 – 94 790

370. César Baldaccini (France, 1921–1998), ‘Compression de canettes’.

Signed César. Probably executed 1980–1998. Aluminum 34 x 15 x 15 cm. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 480 – 11 850

371. Ingo Meller (Germany, 1955–), ‘Chromoxidgrün feuring – Farbton, Winton 43 Cadmiumrotpurpur, Scheveningen 25 Neapelgelb dunkel extra, Scheveningen 316 Chromoxidgrün feuring, WN 211’.

Signed Ingo Meller and dated 1994 on verso. Oil on canvas 63.5 x 40.9 cm.

In original box. Unframed.

Provenance: Galerie Nordenhake, Stockholm. (d)

Estimate: SEK 10 000 – 15 000 / EUR 950 – 1 430

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

JAMES ROSENQUIST James Rosenquist’s bold treatment of the interplay between realism and abstraction gave him a special status within the American art scene of the mid 20th century. He is considered a pioneer of Pop art, even though he rather described himself as affiliated with the Surrealists. In 1955, when he arrived in New York he made a living by painting billboards, this inspired him to insert pop–cultural images in his art. Rosenquist’s fascination with images of pop culture, especially from Time Magazine, made him seek out another path than the Abstract Expressionists who dominated at the time.

However, his collage–like compositions also differed from those of other early Pop art artists. To Rosenquist, painting itself was more important than the actual depiction of the original motif.

In the catalog for the large retrospective exhibition at the Guggenheim in 2002, Walter Hopps wrote about how Rosenquist's painting technique differed from other pop artists': ’Another factor that sets Rosenquist apart from the other Pop artists is the degree to which he has relied on hand–painting. He has rarely used any mechanical means – the stencils or silkscreening that Lichtenstein and Warhol favoured. He is a superb painter in a very traditional sense, producing very untraditional images.’

‘From Ladies of the Opera Terrace’ is an important example of how Rosenquist refined his expression in the borderlands between collage and abstract painting. The motif comes from a mural he created for Operaterrassen in the middle of the 1980s, in the monumental format 228,6 x 640 cm. He had previously created a fresco for the iconic restaurant The Four Seasons in New York. This led to Operakällaren commissioning him to create a painting for its banquet hall on the second floor, Operaterrassen. Rosenquist described the commission as follows: ’I had been in Sweden a number of times.. .. I had gone out to bars and cafés and to the opera with him (Björn Wetterling). It’s cold in Sweden in the Fall and Winter. You go to these places, and there are just tons of beautiful single

girls standing around, having a drink by themselves, chatting and so forth.

At first, I was surprised at this, but then I realized that it didn’t have the kind of connotation it would have in the States. It was just a different custom.

So, my first thought was to do something called the ’Girls of the Opera Terrace’. I wanted to address that cultural difference. In Sweden, because of the long darkness of the winter months, there has been a history of depression and all that. What people are like in Sweden is really disguised.

They may be beautiful, but it’s really hard to tell what they´re like. They could be depressed or happy. For my painting, I thought of doing a very angry lady, a demure face, and maybe a demon lady – a demon surrounded by a lot of hot–coloured flowers. The reason for the colour of the whole composition is that I wanted the faces to look like flames. As I said, it's cold in Sweden. I figured that people would want to come into a warm place with a red–hot painting hanging on its wall. A real bright coloured, orange–red picture would be as welcome on a cold frosty night as a hot drink. Outside, through the windows, you can see these large stanchions burning oil. The building looks like an old fortress. So, this place is very nordic. Even in the Summer, I think it’s cool outside.’

Adcock, Craig. James Rosenquist's Commissioned Works. Stockholm: Painter's Posters in association with Wetterling Gallery, 1990.

In this painting up for auction, Rosenquist's painterly and colouristic mastery can be seen in how the strong and warm colours weave the woman’s face and the bouquet of flowers together. The vibrant flowers appear during this time in several of his significant paintings, inspired by the flowering plant life around his studio in Florida.

372. James Rosenquist (USA, 1933–2017), ‘From Ladies of the Opera Terrace’.

Signed James Rosenquist and dated 1986 on verso. Canvas mounted to panel 91.5 x 122 cm. The painting is registered with the ‘James Rosenquist Painting Record’ with number # 86.14. Left: detail.

Estimate: SEK 2 500 000 – 3 000 000 / EUR 236 970 – 284 360

372. James Rosenquist (USA, 1933–2017), ‘From Ladies of the Opera Terrace’.

Signed James Rosenquist and dated 1986 on verso. Canvas mounted to panel 91.5 x 122 cm. The painting is registered with the ‘James Rosenquist Painting Record’ with number # 86.14.

Provenance: Acquired from the artist by Ingrid and Werner Vögeli, Stockholm.

Private Collection, Stockholm.

Estimate: SEK 2 500 000 – 3 000 000 / EUR 236 970 – 284 360

373. Claes Oldenburg (USA, 1929–), ‘Knäckebröd’.

Cast iron, 1966, signed and numbered 31/250. 9.5 x 16.3 cm.

Published by Moderna Museet. Original box included.

Literature: Platzker 7.

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

374. Julião Sarmento (Portugal, 1948–), ‘#463’.

Signed Julião Sarmento and dated 15.1.86 on verso.

Mixed media on paper 69 x 50 cm.

Provenance: Anders Thornberg Gallery, Lund. Acquired from the above by the present owner. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

375. William Copley (USA, 1919–1996), ‘Flag of the USA’.

Signed CpLy and dated 1962 and numbered 4/6. Fabric and metal eyelets 65 x 84.5 cm. Bukowskis would like to thank the CPLY Archives / William N. Copley Estate for their assistance.

Provenance: Eva af Burén, Stockholm.

Private Collection, Stockholm.

Exhibitions: Presumably exhibited at Moderna Museet, Stockholm, ‘Dada Lever’, 3 February – 27 March 1966.

Galerie Iris Clert, Paris, ‘The Flags (Les Etats–Unis du Monde)’, March 1962, another example exhibited.

Estimate: SEK 600 000 – 800 000 / EUR 56 880 – 75 830

376. Keith Haring (USA, 1958–1990), Untitled.

Signed K. Haring and dated 82 with dedication. Black felt tip pen on page 5 from the Tony Shafrazi catalogue 22.7 x 22 cm. The catalogue in question accompanies the lot.

The catalogue is published by Tony Shafrazi Gallery and printed by Fleetwood Press, New York City. First edition, 1982, edition of 2000.

Provenance: Directly from the artist to the present owner.

Estimate: SEK 150 000 – 200 000 / EUR 14 220 – 18 960

377. Jason Matthew Lee (USA, 1989–), ‘BRUTEFORCEPHREAK: 4ngel’.

Executed in 2015. Airbrushed payphone, broken cellphones 53 x 19 x 17 cm. A certificate executed by Galleri Johan Berggren acompanies the lot.

Provenance: Johan Berggren Gallery, Malmö.

Private Collection, Stockholm.

Exhibitions: Johan Berggren Gallery, Malmö, ‘Jason Matthew Lee, Bruteforcephreak’, 23 July – 22 August 2015.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

375. William Copley, ‘Flag of the USA’.

Signed CpLy and dated 1962 and numbered 4/6. Fabric and metal eyelets 65 x 84.5 cm. Bukowskis would like to thank the CPLY Archives / William N. Copley Estate for their assistance.

Estimate: SEK 600 000 – 800 000 / EUR 56 880 – 75 830

WILLIAM N. COPLEY William N. Copley, also known as CPLY, was hugely important for art in Europe and the USA. He was a skilled artist but also a gallerist, writer, art patron, publisher and art advisor. He is seen as an important and unique link between European Surrealism and American Pop Art. He easily moved between both these genres and successfully brought them together in a very personal way.

Copley’s journey began in an orphanage in New York where he spent his first three years before being adopted by well–off parents. His adoptive father was a publicist and owned the newspaper conglomerate Copley Press.

After boarding school and Yale, Copley was drafted into military service in Europe and North Africa in the Second World War. In 1945, Copley married his first wife, which brought him together with John Ployardt, who now became his brother-in-law. Ployardt was interested in art, which encouraged Copley to start painting himself. In 1948 they opened Los Angeles’ first gallery for Surrealist art. Following a successful meeting with Man Ray and later Marcel Duchamp, the gallery was able to host a total of six exhibitions of Surrealists such as René Magritte, Yves Tanguy, Joseph Cornell, Man Ray and Max Ernst. The exhibitions were spectacular, but sadly this was not reflected in sales and the gallery was forced to close in 1949. As Copley had promised all the artists that they would sell at least 10% of the works in each exhibition, he often ended up having to buy works himself in order to pay the artists. This is where William N. Copley’s renowned art collection came into being. When the gallery closed, Copley focused whole-heartedly on his own artistic career. His first exhibition was held in Los Angeles in 1951.

That same year, he moved to Paris, with the eager encouragement of close friends such as Man Ray, Marcel Duchamp, Max Ernst and Dorothea Tanning.

In Paris, he became an important part of the art community in Impasse Ronsin in Montparnasse. The district was an important location for Dadaists and Surrealists, and he had a studio there on the same alley as Yves Klein, Niki de Saint Phalle, Jean Tinguely and Constantin Brancusi.

In 1962, the same year in which he created the alternative American flag, Copley and his second wife moved to New York. By that time the start of the shift in which New York replaced Paris as the epicentre of innovative art had started. In this period, Copley created several works linked to Pop Art and works with political and satirical elements.

William N. Copley’s work ‘Flag for the USA’ is one of his first works inspired by national flags, an important element in his art. The work is one of his very first set of flags, created in 1962 in an edition of 6 different motifs. The suite arose in the turbulent period in which the USA found itself in the 1960s, with the Vietnam war, the Civil Rights Movement and race riots.

The Philadelphia Museum of Art has all nine flags in its collection. Besides Flag for the USA, Copley created flags for the following nations: Greece, the UK, Japan, Spain, France, Switzerland, the Soviet Union and Belgium.

Ten years later, Copley once more took up his imaginative flags. In 1972, at Documenta 5, he presented a new edition entitled ‘Imaginary Flags”. This time, he created three new subjects (Egypt, China and Panama) and left out his earlier flags for Greece and Belgium. This meant that the 1972 edition included a total of ten flags.

William Copley’s first retrospective exhibition was held in 1966 at the Stedelijk Museum. The list of exhibitions that followed is extensive and practically includes all the major art institutions around the globe. For example, the Prada Foundation in Milan showed a William Copley retrospective in 2016.

His works are found in the collections of the Museum of Modern Art and the Whitney Museum of American Art in New York. Moderna Museet in Stockholm has this motif in its collection in the form of a black and white screen print produced by the artist in 1967.

L E O N TA R A S E W I C Z Leon Tarasewicz (b. 1957) is a Polish artist with strong ties to Sweden since he has had a total of eight solo shows at the Swedish Galerie Nordenhake in Stockholm and Berlin. The first one was held as early as 1986 only two years after Tarasewicz graduated from the Warsaw Academy of Fine Arts.

The inspiration for his colourful, abstract paintings comes from nature. The large canvases almost always reproduce small sections, shades, and structures that he finds in plants, animals, and landscapes around his home near Białystok in eastern Poland. In his work Tarasewicz examines the inherent nature of colour and painting; he has experimented with structures and colour combinations in paintings on canvas as well as murals and installations. Tarasewicz has a strong international career, where he, among other things, has represented Poland at the Venice Biennial in 2001 and exhibited

in cities such as Berlin, Tel Aviv, Rome, and New York. His work is found in all the most important Polish collections and institutions, he is also represented at Moderna Museet in Stockholm, Sackler Collection, New York, and George Costakis Collection in Athens, to name a few.

Tarasewicz has a strong international career, where he, among other things, has represented Poland at the Venice Biennial in 2001 and exhibited in cities such as Berlin, Tel Aviv, Rome, and New York. His work is found in all the most important Polish collections and institutions, he is also represented at Moderna Museet in Stockholm, Sackler Collection, New York, and George Costakis Collection in Athens, to name a few.

378. Leon Tarasewicz, ‘Ohne titel’.

Signed Leon Tarasewicz a tergo verso on all three parts.

Executed in 1988. Triptych, oil on linen canvas 190 x 390 cm. (d) Estimate: SEK 400 000 – 500 000 / EUR 37 920 – 47 400

378. Leon Tarasewicz (Poland, 1957–), ‘Ohne titel’.

Signed Leon Tarasewicz a tergo verso on all three parts.

Executed in 1988. Triptych, oil on linen canvas 190 x 390 cm.

Provenance: Springer & Wickler, Frankfurt.

Galerie Nordenhake, Stockholm.

Private Collection, Stockholm. (d)

Estimate: SEK 400 000 – 500 000 / EUR 37 920 – 47 400

379. Liisa Lounila (Finland, 1976–), ‘Roma I, II, III’.

Signed Liisa Lounila on verso. Edition 3/5. Triptych, light boxes in stainless steel frame 30.5 x 42.5 x 10.2 cm each. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

380. Ingo Meller (Germany, 1955–), ‘Antwerpnerblau, W&N 143 Nickeltitangelb, Mussini 234 Chromoxidgrün stumpf, Norma 561’.

Signed and dated 1996 verso. Oil on canvas 62.9 x 42.5 cm. In original box.

Unframed.

381. Jason Middlebrook (USA, 1966–), ‘Birds of Sweden #1’.

Signed Jason Middlebrook and dated 2006 on verso. Acrylic and pencil on panel 132 x 112 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Provenance: Galerie Nordenhake, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 800 – 5 690

Estimate: SEK 10 000 – 15 000 / EUR 950 – 1 430

382–383. Withdrawn

384. Jean–Claude Farhi, Untitled (detail).

384. Jean–Claude Farhi (France, 1940–2012), Untitled.

Signed Farhi and dated 93. Corten steel, height 210 cm, width 80 cm, depth 92 cm. (d) Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

385. Sophido (France, 1963–), Untitled.

Signed Sophido, dated –92 and numbered 1/6.

Foundry mark ‘Blanchet Fondeur’. Bronze, height 109 cm, width 65 cm, length 140 cm. (d) Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

386. Louis Cane (France 1943–) ‘La grande sorcière’.

Signed Cane. Stamp foundry ‘Bocquel Fondeur’.

Bronze, height 162 cm, width 42 cm, length 240 cm. (d) Estimate: SEK 50 000 – 75 000 / EUR 4 740 – 7 110

387. ‘The New York Collection for Stockholm’.

Portfolio with 30 prints in various techniques, 1973, published by Experiments in Art and Technology. All signed by the artists and numbered 262/300. 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, Hans Haacke, Alex Hay, Donald Judd, Ellsworth Kelly, Sol LeWitt, Roy Lichtenstein, Robert Morris, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Nam June Paik, Robert Rauschenberg, Larry Rivers, James Rosenquist, George Segal, Richard Serra, Keith Sonnier, Richard Stankiewicz, Cy Twombly, Andy Warhol och Robert Whitman.

Estimate: SEK 125 000 – 150 000 / EUR 11 850 – 14 220

388. William Anastasi (USA, 1933–), ‘Subway Etchings’.

Portfolio with 10 etchings, 1992, all signed, numbered 1/30 on justification. Image size 21 x 29 cm each.

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

389. Karin Mamma Andersson (Sweden, 1962–), ‘God Natt Jord’.

Monotype in colours, and with hand colouring, 2009, signed in pencil, published by Edition Grafikens hus. 86 x 208 cm.

Exhibitions: Grafikens Hus, Mariefred. 25 April – 29 September, 2009 (d)

Estimate: SEK 175 000 – 200 000 / EUR 16 590 – 18 960

Left: 387. ‘The New York Collection for Stockholm’ (detail), Portfolio with 30 prints in various techniques.

THE NEW YORK COLLECTION ‘The New York Collection for Stockholm is a collection of paintings and sculptures

by New York Artists of the 60's assembled on the initiative of Exeperiments in Art and Technology, selected by K. G. P. Hultén; the project was directed by Billy Klüver’.

387. ‘The New York Collection for Stockholm’.

Portfolio with 30 prints in various techniques, 1973, published by Experiments in Art and Technology. All signed by the artists and numbered 262/300.

Estimate: SEK 125 000 – 150 000 / EUR 11 850 – 14 220

BANKSY It is one of the most famous motifs of Banksy and possibly one of the most iconic artworks of the 21st century, Banksy – ‘Girl with Balloon’. Based on a stencil painting that first appeared on the streets of London in 2002 along with the message ‘There is always hope’, it has since been elected as the favourite work of art in Britain in a Samsung poll. Banksy is a provocative artist who, through his street art, is transmitting a message to humanity. It seems that the more he takes sides the more his popularity rises.

Bukowskis has this spring once again been given the privilige to present one of Banksys most sought–after prints, originaly included in the famed exhibition at Allmäna Galleriet in Stockholm in the mid 00’s.

The iconic image never stops to explore new ground and mesmerize collectors and art lovers, one version on canvas sold at auction in 2018 for over £1 million, moments after selling it started to automatically self–destruct through a hidden shredding mechanism that had been placed in the frame by the artist years before. Making headlines the world over, appropriately renamed ‘Love is in the Bin’ by Banksy afterwards, sold last year for £18.5 million.

Today, ‘Girl with Balloon’ is more relevant motif than ever, a reminder that hope remains the main message of this iconic work, which is also what gives it the timelessness that is essential to all great and iconic artworks.

391. Banksy, ‘Girl with Balloon’.

Screenprint in colours, 2004, published by Pictures on Walls, London, with their blind stamp, numbered in pencil 363/600. S. 70 x 50 cm. This work is accompanied by certificate of authenticity issued by Pest Control Office. (d) Estimate: SEK 1 100 000 – 1 500 000 / EUR 104 270 – 142 180

390. Banksy (Great Britain, 1974–), ‘HMV’.

Screenprint, 2003. Numbered 58/600 in pencil. Published by Pictures on Walls, London. S. 35 x 50 cm. This work is accompanied by certificate of authenticity issued by Pest Control Office. (d)

Estimate: SEK 300 000 – 350 000 / EUR 28 440 – 33 180

391. Banksy (Great Britain, 1974–), ‘Girl with Balloon’.

Screenprint in colours, 2004, published by Pictures on Walls, London, with their blind stamp, numbered in pencil 363/600. S. 70 x 50 cm. This work is accompanied by certificate of authenticity issued by Pest Control Office.

Provenance: Acquired at Allmänna Galleriet, Stockholm, 2004/2005.

Private collection, Sweden. (d)

Estimate: SEK 1 100 000 – 1 500 000 / EUR 104 270 – 142 180

392. Joseph Beuys (Germany, 1921–1986), ‘Buttocklifting’.

Enamel on metal plate, 1974, signed and numbered 63/80 on label affixed on verso (as issued). Published by Edition Staeck, Heidelberg. 20 x 30 cm.

Provenance: Anders Tornberg Gallery, Lund.

Literature: Schellmann 120. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

393. Withdrawn

394. Christo & Jeanne-Claude (USA, 1935–2020), ‘Double Show Window’.

Two–part aluminum and Plexiglas object paper taped on Plexiglas, 1972. Signed Christo verso. Numbered 60/65. 91 x 60 cm. Published by Tanglewood Press, New York.

Literature: Schellmann 49.

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

395. Christo & Jeanne-Claude (USA, 1935–2020), ‘Orange Store Front, Project’.

Offset with collage in textile, metal and paper, 1991. Signed Christo and numbered 9/100. Published by Leif Holmer Gallery/Claes Disther Gallery, printed by Landfall Press, Chicago. 70 x 82 cm including plexi box.

Provenance: Leif Holmer Gallery, Nässjö.

Literature: Jörg Schellmann and Joséphine Benecke, ‘Christo and Jeanne–Claude, prints and objects 1963–95 : a catalogue raisonné’, 1995, no 157, p. 207.

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

396. Christo & Jeanne-Claude (USA, 1935–2020), ‘The Umbrellas (Joint Project for Japan and USA)’.

Diptych. Signed Christo. Published by Carl Flach/Achenbach Art Edition, Düsseldorf, 1991. Offset colour print with fabric application, image 38 x 42 each.

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

397. Christo & Jeanne-Claude (USA, 1935–2020), ‘Wrapped reichstag’.

Offset in colour with fabric applcation, 1993.

Signed with blue crayon. 49 x 74 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 320 – 3 800

398. Christo & Jeanne-Claude (USA, 1935–2020), ‘The Gates, Central Park, New York’.

Offset in colour with fabric application. Signed in pencil. 87 x 54 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 320 – 3 800

399. (Christo & Jeanne-Claude (USA, 1935–2020), ‘Surrounded Islands, Project for Biscayne Bay, Greater Miami, Florida’.

Diptych. Silkscreen in colours and collotype, with collage of fabric, photo and masking tape, 1987, signed in pencil and numbered 83/125, printed by Domberger KG, Stuttgart and with their blind stamp, published by Edition Schellmann, München/New York. 38 x 40 cm each (total measuremnt including plexi 45 x 90 cm).

Literature: Jörg Schellmann and Joséphine Benecke, ‘Christo and Jeanne–Claude, prints and objects 1963–95 : a catalogue raisonné’, 1995, no 132, p. 175.

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

400. Sam Francis (USA, 1923–1994), ‘Coldest Stone’.

Lithograph in colours, on BFK Rives paper, 1960, signed in pencil and numbered 54/65. 63.5 x 90.2 cm.

Literature: SF–15.

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

401. Antony Gormley (Great Britain, 1950–), ‘Floor’.

Lithograph, 2007, signed on verso. From an edition of 36.

Published by Edition Copenhagen. 66 x 99 cm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 950 – 1 140

402. Wade Guyton (USA, 1972–), ‘X Poster (Untitled, 2007, Epson UltraChrome inkjet on linen 84 x 69 inches, WG1210)’.

Handfolded digital print witch archival UV–curable inks, 2018. Signed and numbered 28/100 on label. Published by Printed Matter Inc. Unframed in the original slipcase. S. 213.4 x 175.3 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

403. Keith Haring (USA, 1958–1990), ‘Three Lithographs: one plate’.

Lithograph in colours, 1985, signed and dated, numbered AP 12/20 in pencil. S. 81 x 100 cm. Published by Edition Schellmann, with blindstamp.

Estimate: SEK 125 000 – 150 000 / EUR 11 850 – 14 220

404. Keith Haring (USA, 1958–1990), ‘Untitled 2’, from: ‘Free South Africa’.

Lithograph in colours, 1985, on BFK Rives paper, signed in pencil and numbered 53/60, published by Edition Schellmann, Munich/New York. L./S. 80,5 x 100 cm.

Estimate: SEK 175 000 – 200 000 / EUR 16 590 – 18 960

405. Damien Hirst (Great Britain, 1965–), ‘Honour’, from ‘The Virtues’.

Laminated Giclée print on aluminium composite panel, signed on label verso, numbered 560/693. Published by HENI Editions. 120 x 96 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

406. Damien Hirst (Great Britain, 1965–), ‘Fruitful’.

407. Damien Hirst (Great Britain, 1965–), ‘Forever’.

Laminated Giclée print on aluminium composite panel, signed on label verso, numbered 1443/1928. Published by HENI Editions. 78 x 78 cm.

Laminated Giclée print on aluminium composite panel, signed on label verso, numbered 1020/1449. Published by HENI Editions. 78 x 78 cm.

(d)

(d)

Estimate: SEK 15 000 – 18 000 / EUR 1 430 – 1 710

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

408. Damien Hirst (Great Britain, 1965–), ‘Butterfly Rainbow’.

Laminated Giclée print on aluminium composite panel, 2020, signed on label verso, numbered 825/1497, Published by HENI Editions. 48.2 x 100 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

409. Damien Hirst (Great Britain, 1965–), ‘Butterfly Heart’.

Laminated Giclée print on aluminium, signed on label verso, numbered 828/1698. Published by Heni Editions. 70 x 72.7 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

410. Damien Hirst (Great Britain, 1965–), ‘Butterfly – Portrait’.

Photogravure and etching, 2009, signed and numbered 22/45 in pencil.

Published by OtherCriteria. 47 x 39 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

411. David Hockney (Great Britain, 1937–), ‘Brooke Hopper’.

412. David Hockney (Great Britain, 1937–), ‘Joe McDonald’.

Lithograph, 1976, signed and dated in pencil 40/92, published by Gemini G.E.L., and with their blindstamp. S. 96.5 x 71.5 cm.

Lithograph, 1976, signed in blue crayon and numbered 40/99. Published

by Gemini G.E.L. Los Angeles and with their blindstamp. S: 105.5 x 75:5 cm.

Literature: Scottish Arts Council 177. (d)

Literature: Scottish Arts Council 175. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 740 – 6 640

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

413. David Hockney (Great Britain, 1937–), The Blue Guitar (Title Page), from the portfolio 'The Blue Guitar'.

414. David Hockney (Great Britain, 1937–), ‘A Moving Still Life’ from: ‘The Blue Guitar’.

Etching and aquatint, 1977. Printed by Petersburg Studios and published by Petersburg Press, London and New York. S. 42 x 55 cm.

Etching and aquatint, 1976–77, signed in pencil and numbered 174/200.

Published 1977 by Petersburg Press, London. S: 45.5 x 52.4 cm.

Literature: Tokyo 178. (d)

Literature: Scottish Arts Council 216. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

Estimate: SEK 18 000 – 20 000 / EUR 1 710 – 1 900

415. Georg Herold (Germany, 1947–), ‘Looking for an buttonhole’.

Offset and assemblage. Signed, dated and numbered 4/35. 28.5 x 18 cm.

Provenance: Anders Tornberg Gallery.

Private collection, Sweden (acquired from the above). (d)

Estimate: SEK 6 000 – 8 000 / EUR 570 – 760

416. KAWS, (USA, 1974–), ‘Untitled (KAWS x Mocad)’.

Screenprint in colors, 2019. Signed and dated. 25.5 x 20 cm.

Estimate: SEK 50 000 – 60 000 / EUR 4 740 – 5 690

417. Roy Lichtenstein (USA, 1923–1997), ‘Yellow Still Life’.

Lithograph and silkscreen in colour, 1974, signed, dated and numbered PP 4/5 in pencil. 83.6 x 112.2 cm. Published by Multiples Inc and Castelli Graphics, New York, printed by Styria Studio, New York.

Literature: Corlett 133.

Estimate: SEK 100 000 – 150 000 / EUR 9 480 – 14 220

418. Takashi Murakami (Japan, 1962–), ‘Thank you for the wonderful destiny’.

Lithograph in colour, 2021, signed and numbered 84/100, I. 50 x 50 cm.

Certificate included.

Estimate: SEK 20 000 / EUR 1 900

419. Eddie Martinez (USA, 1977–), Untitled.

Woodcut, 2008, signed E Martinez in pencil, dated and numbered 8/30. 43 x 64 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

420. Matt Mullican (USA, 1951–), Organizational Legend portfolio.

The complete set of 16 etchings. All numbered 9/64. Printed by Mark Patstfall, Graphics, Cincinnatis, Ohio. Published by Carl Solway Gallery. Image 56 x 38 cm each.

Estimate: SEK 25 000 – 30 000 / EUR 2 370 – 2 850

421. Robert Rauschenberg (USA, 1925–2008), ‘Print for the Center for Performing Arts’.

Lithograph, 1983, signed and numbered 107/125. 72 x 52 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

422. James Rosenquist (USA, 1933–2017), ‘Pilot–Speed of Light’.

Lithograph in colours, 1999. Signed, dated and numbered 58/58. S. 99 x 83 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 900 – 2 370

423. James Rosenquist (USA, 1933–2017), The Memory Continues but the Clock Disappears.

Lithograph with rotating mirror mounted in artist's frame. 2011. Signed, dated and numbered 9/45. Total measurment: 101.5 x 67 cm. Published and printed by Universal Limited Art Editions, Bay Shore, NY with their blindstamp.

Estimate: SEK 15 000 – 20 000 / EUR 1 430 – 1 900

424. Richard Serra (USA, 1939–), ‘Malcolm X’.

Lithograph, 1981. Signed, dated and numbered 11/14 in pencil.

Published by Gemini G.E.L., Los Angeles. S. 156 x 133 cm.

Provenance: Galerie Nordenhake, Stockholm.

Private collection.

Estimate: SEK 80 000 – 100 000 / EUR 7 590 – 9 480

425. Frank Stella (USA 1936–), ‘Referendum’.

Screenprint in colors, 1970, numbered 17/200, published by Gemini G.E.L., Los Angeles, with their blindstamp. S: 101 x 101 cm.

Estimate: SEK 50 000 – 70 000 / EUR 4 740 – 6 640

426. Frank Stella (USA 1936–).

Lithograph in colours, 1972, signed in pencil and numbered AP IV. Published

by Gemini G.E.L, Los Angeles, with their blind stamp. S: 40 x 56 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 140 – 1 430

‘ The

idea is not to live forever; it is to create something that will’ Andy Warhol

ANDY WARHOL Definition of iconic? Andy Warhols portrait of Marilyn Monroe is the Mona Lisa of our age.

Two of the world’s most well–known faces but also two people who still fascinate both historians and art audiences.

In 1967, Warhol established a print-publishing business, Factory Additions. Marilyn Monroe was the first work created. He used the same publicity still of the actress that he had previously used for dozens of paintings. More than any other artist of his generation his images would define the contemporary time. As he self described it: ‘If you want to know all about yourself, just look at the surface of my prints... and there you are’.

Bukowskis has also been given the privilege in this Spring’s Contemporary Art & Design auction to present several rare prints by Andy Warhol.

431. Andy Warhol, ‘Marilyn Monroe (Marilyn)’.

Silkscreen in colors, 1967, signed with initials and dated –67 in pencil and numbered 72/250 with a rubber stamp on verso. Printed by Aetna Silkscreen Products, Inc./Du–Art Displays, New York, published by Factory Additions, New York, 91.4 x 91.4 cm.

Estimate: SEK 800 000 – 1 000 000 / EUR 75 830 – 94 790

427. Andy Warhol (USA, 1928–1987), ‘The Nun’, from; ‘Three portraits of Ingrid Bergman’.

Silkscreen in colours, 1983, signed in pencil and numbered 32/250, printed by Rupert Jasen Smith, New York, published by Galerie Börjeson, Malmö. I./S. 96.5 x 96.5 cm.

Literature: Feldman & Schellmann II. 314.

Estimate: SEK 275 000 – 300 000 / EUR 26 070 – 28 440

428. Andy Warhol (USA, 1928–1987), ‘With Hat’, from: ‘Ingrid Bergman’.

Silkscreen in colours, 1983, signed in pencil and numbered 197/250, printed by Rupert Jasen Smith, New York, published

by Galerie Börjeson, Malmö, Sweden. I./S. 96.5 x 96.5 cm.

Literature: Feldman & Schellmann II. 315.

12% Import VAT will be charged on the hammer price on this lot.

Estimate: SEK 350 000 – 400 000 / EUR 33 180 – 37 920

429. Andy Warhol (USA, 1928–1987), ‘Frölunda hockey player’.

Silkscreen in colours, 1986, signed in pencil and numbered 40/100, printed

by Rupert Jasen Smith with his blind stamp, New York, published by Art Now Gallery, Gothenburg. I./S. 100 x 80 cm.

Literature: FFeldman & Schellmann II 366.

Estimate: SEK 40 000 – 50 000 / EUR 3 800 – 4 740

430. Andy Warhol (USA, 1928–1987), ‘Goethe’.

Silkscreen, 1982. Signed and numbered 90/100 in pencil Printed by Rupert Jasen Smith, New York with their blindstamp. Published by Editions Schellmann & Klüser, Munich, New York, and Denise René/Hans Mayer, Dûsseldorf, with their stamp on verso. 96.5 x 96.5 cm.

Literature: Feldman & Schellmann II.271

Estimate: SEK 400 000 – 500 000 / EUR 37 920 – 47 400

431. Andy Warhol (USA, 1928–1987), ‘Marilyn Monroe (Marilyn)’.

Silkscreen in colors, 1967, signed with initials and dated –67 in pencil and numbered 72/250 with a rubber stamp on verso. Printed by Aetna Silkscreen Products, Inc./Du–Art Displays, New York, published by Factory Additions, New York, 91.4 x 91.4 cm.

Literature: Feldman & Schellmann.28

Estimate: SEK 800 000 – 1 000 000 / EUR 75 830 – 94 790

432. Andy Warhol (USA, 1928–1987), ‘Mao’.

Silkscreen in colours, 1972, signed with pencil and numbered AP 39/50 on verso, printed by Styria Studio, Inc., New York, published by Castelli Graphics and Multiples, Inc., New York. I./S. 91.3 x 91.3 cm.

Literature: Feldman & Schellmann II. 97.

Estimate: SEK 350 000 – 400 000 / EUR 33 180 – 37 920

433. Withdrawn

434. Andy Warhol (USA, 1928–1987), ‘$1.57 Giant Size’.

Screenprint on coated record cover, vinyl record, 1963. Published by Billy Kluver, New York to coincide with the "Popular Image Exhibition" at the Washington Gallery of Modern Art, Washington D.C., 18 April – 2 June 1963. Record sleeve houses a vinyl record with interviews from participating artists. 31 x 31 cm.

Provenance: Private Collection, Stockholm.

Literature: Feldman & Schellmann II.2.

Estimate: SEK 60 000 – 80 000 / EUR 5 690 – 7 590

435. Tom Wesselmann (USA, 1931–), ‘Rosemary Lying on One Elbow’.

Oil on laser–cut steel multiple, 1989. Published by Sidney Janis Gallery, New York.

20.5 x 37 cm (including frame 40 x 50 cm).

Estimate: SEK 130 000 – 150 000 / EUR 12 330 – 14 220

436. Tom Wesselmann (USA, 1931–), ‘Rosemary sitting up’.

Oil on laser–cut steel multiple,1989, published by Sidney Janis Gallery, New York. 25 x 23 cm.

Estimate: SEK 130 000 – 140 000 / EUR 12 330 – 13 270

437. Tom Wesselmann (USA, 1931–), ‘Nude with Rose’.

Lithograph in colours with embossing, 1976. Signed, dated and numbered 11/75. Published by Multiples Inc. S. 57 x 46 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 850 – 3 800

Bukowskis auctions spring 2022

How to participate in our auctions

There are four ways to bid at Bukowskis.

Design Sale Helsinki Auction Online only March 30 – April 10

1

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2

Live bidding

If you prefer to bid by phone, we will call you from the saleroom and bid on your behalf.

Important Timepieces Viewing April 21–25 | Auction Live April 26

Contemporary Art & Design Viewing April 21–25 | Auction Live April 26

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Important Spring Sale

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3

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4

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Viewing June 2–7 | Auction Live June 8–10

Place an absentee bid at least one hour before the sale and we will bid on the item for you.

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Systembolaget Beverage auctions D041 Feb 28 – March 2 | D042 April 4–6 D043 May 9–11 | D044 June 13–15 All beverage auctions are online

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Bukowskis Stockholm Arsenalsgatan 2 Box 1754 111 87 Stockholm, Sweden All lots with a lower estimate value of 15 000 SEK and above in the Art section of Modern Art and Important Winter/Spring’s hammer sales are searched against the Art Loss Register database.

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