Viewing: May 28 – June 2, Berzelii Park 1, Stockholm Auction: June 3–4, Arsenalsgatan 2, Stockholm
Contact us with your questions concerning specific items, bookings for private viewings or other queries about our upcoming auctions.
Specialist Prints 19th/20th Century & Classic Art Cecilia Berggren, +46 739 96 74 02 cecilia.berggren@bukowskis.com
Specialist Prints and Modern Art Amanda Wahrgren +46 (0)702 53 14 89 amanda.wahrgren@bukowskis.com
Cover: 319. Andy Warhol, Liz. 308. Roy Lichtenstein, Still Life. 274. Pablo Picasso, Vollard et son chat. 279. Pablo Picasso, Maternité. 256. Marc Chagall, Springtime in the meadow. 310. Roy Lichtenstein, Mirror. 309. Roy Lichtenstein, Joanna. 295. Ellsworth Kelly, Blue and yellow and red orange. 301. Roy Lichtenstein, Moonscape. 289. Banksy, Napalm. 326. Andy Warhol, The Shadow. 321. Andy Warhol, Queen Ntombi Twala of Swaziland. 267. Joan Miró, L’aïeule devant la mer. 323. Andy Warhol, Leonardo da Vinci, The annunciation. 305. Roy Lichtenstein, Brushstrokes. 322. Andy Warhol, Chanel. 307. Roy Lichtenstein, Foot and hand. 329. Tom Wesselmann, Seascape (Foot). 291. Richard Hamilton, I’m dreaming of a black Christmas. 306. Roy Lichtenstein, Yellow Haystack. 297. Roy Lichtenstein, Fish and sky. 266. Henri de Toulouse–Lautrec, Reine de Joie. 275. Pablo Picasso, Dans l’atelier, 304. Roy Lichtenstein, Pyramids.
Wednesday June 3
From 12 pm (CEST) Number Furniture and Decorative Arts
1 � 111
Silver, Objects of Vertu
112 � 164
Carpets and Textiles
165 � 225
Glass
226 � 242
European Ceramics
243 � 249
From 3.30 pm (CEST) Number Important Prints
250 � 329
Art
330 � 548
Thursday June 4 From 11 am (CEST) Number Asian Sale
From 3 pm (CEST) Jewellery
549 � 812
Number 813 � 990
Modern Prints 250. Josef Albers, ‘Interaction of color’. Portfolio with 81 colour screenprints/colour offsets and 2 text books, 1963–1975, from an edition of 1000. Varying image sizes on thin cardboard 33 x 25.5 cm (double sheets). Published by Josef Keller Verlag, Starnberg (for the German edition). Printed by Herbert Geier, Ingolstadt (screenprints) and Courier Druckhaus, Ingolstadt (book and offset). In original box. Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
251. Francis Bacon, ‘Study for portrait of Pope Innocent X’.
252. Georges Braque, ‘L’oiseau et son ombre I’.
Lithograph in colours, 1989, (after a painting executed 1965), on Arches paper, signed in pencil and numbered 2/60, published by Libraire Séguier for IRCAM, Centre Georges Pompidou, Paris. I. 95 x 69 cm.
Lithograph in colours, 1959, on BFK Rives paper, signed in pencil and numebed 32/75, printed by Mourlot Paris, published by Maeght, Paris. I. 59 x 84 cm. S. 64,5 x 91 cm.
Literature: Sabatier 14. (d)
Literature: Vallier 141. (d)
Estimate: SEK 250 000 – 300 000 / EUR 23 240 – 27 890
Estimate: SEK 35 000 – 40 000 / EUR 3 260 – 3 720
253. Georges Braque, ‘Helios V’. Lithograph in color, 1948, on Arches paper, signed in pencil and numbered 19/75, printed by Mourlot, Paris, published by D.H. Kahnweiler, Paris. I: 51.2 x 42.7 cm, S: 65.5 x 50 cm. Literature: Vallier 40. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
254. Alexander Calder, ‘Untitled’ from ‘Calder, Magie Eolienne’. Lithgraph in colours, 1972, signed in pencil and numbered 62/125. Printed by Arte Adrian Maeght, Paris. S: 64 x 50 cm. Estimate: SEK 18 000 – 20 000 / EUR 1 680 – 1 860
255. Marc Chagall, ‘Les grenouilles qui demandent un roi’ from ‘Les Fables de la Fontaine’. Handcoloured etching, 1930, on BFK Rives paper, signed in pencil and numbered 73/85. P:23.3 x 29.5 cm. S:30 x 39 cm. Provenance: Swann Galleries, New York, 11th May, 2000; Private collection, Sweden. Literature: Sorlier 123. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 860 – 2 330
256. Marc Chagall, ‘Springtime in the meadow’, from: ‘Daphnis And Chloe’. Lithograph in colours, on Arches paper, 1961, signed in pencil and numbered 16/60. Published by Tériade, Paris. P: 42 x 64 cm, S: 54 x 76 cm. Literature: Mourlot 314. (d)
Estimate: SEK 200 000 – 250 000 / EUR 18 590 – 23 240
257. Marc Chagall, ‘Evocation’. Lithograph in colours, 1983, on Arches paper, signed in pencil and numbered 44/50. I: 50 x 34.5 cm, S: 65 x 48 cm. Literature: Mourlot 1001. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 330 – 2 790
258. Marc Chagall, ‘Le Violoniste au coq’. LIthograph in colours, 1982, on Arches paper, signed in pencil and numbered 5/50. I: 50 x 34 cm, S: 66 x 50 cm. Literature: Mourlot 1000. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
259. Eduardo Chillida, ‘Zubi’. Woodcut, 1989, signed in pencil and numbered X/X P.A. S: 23.5 x 21.5 cm. Literature: Van der Koelen 89005. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 330 – 2 790
260. Le Corbusier, ‘Untitled, plate 15’ from ‘Unité’. Etching in colour, from the portfolio of 20 etchings, 1963 – 65, signed in pencil and numbered 121/130. Printed by Atelier Crommelynck, Paris and published by Éditions A. C. Mazo & Cie., Paris. P: 41 x 31 cm, S: 56.5 x 45 cm. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 330 – 2 790
261. Sonia Delaunay, ‘Poésie de mots, poésie de couleurs. Pochoir in gouache, 1961, signed and numbered 20/50. S: 65 x 49 cm. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 330 – 2 790
261 A. Jean Dubuffet, ‘Personnage au costume rouge’. Lithograph in colours, 1961, on Arches paper, signed in pencil and numbered e’preuve d artiste III/V. I: 52 x 38 cm, S: 65 x 48 cm. Provenance: Galerie Pierre, Stockholm. Literature: Webel 806.
Estimate: SEK 150 000 – 200 000 / EUR 13 940 – 18 590
262. Max Ernst, ‘Oiseaux en Péril’. Suite of 8 colour etchings with collage,1975, on Japon Nacré, all signed in pencil and numbered 32/100, printed by Georges Visat, Paris. I: ca 30.5 x 25.5 cm. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 440 – 9 300
263. Lucio Fontana, ‘Concetto spaziale (Teatrino)’. Multiple, screenprint with punched holes, printed in orange, with silver foil, 1965/66, signed in the metal L. Fonatana and numbered 30/50. 49.5 x 48 cm. Literature: Ruhé/Rigo S–9. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
264. Lucio Fontana, ‘Concetto Spaziale’. Etching with aquatint and with incision, 1968, signed and numbered 67/80. Published by Edition Galleria Marlborough, Rome. S: 48 x 64 cm. Literature: Ruhé/Rigo E–38. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 860 – 2 330
265. Willem de Kooning, ‘Figure at Gerard Beach’. Lithograph, 1970, signed in pencil and numbered 27/32, printed by Hollanders Workshop and with their blind stamp, published by Knoedler Gallery, New York. S: 101.6 x 71.8 cm. Literature: Graham 24.
Estimate: SEK 35 000 – 40 000 / EUR 3 260 – 3 720
266. Henri de Toulouse–Lautrec, ‘Reine de Joie’. Lithograph in colour, 1892. printed by Ancourt, Paris, on two joined sheets of wove paper, printed by Ancourt, with the Republique Française inkstamp. I: 140.5 x 92.5 cm, S: 142.5 x 95.5 cm. Literature: Wittrock P3, Delteil 342, Adhemar, Adriani 5.
Estimate: SEK 80 000 – 100 000 / EUR 7 440 – 9 300
267. Joan Miró, ‘L’aïeule devant la mer’. Etching with aquatint in colours and carborundum, 1969, on Arches paper, signed in pencil and numbered HC, printed by Morsang, Paris, published by Maeght, Paris. P. 98.6 x 59.5 cm. S. 105.4 x 69.9 cm. Literature: Dupin 484. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 440 – 9 300
268. Joan Miró, ‘Louisiana’. Lithograph in colours, 1974, on Arches paper, signed and numbered 60/75. S:75 x 55 cm. Literature: Maeght 944.
Estimate: SEK 20 000 – 25 000 / EUR 1 860 – 2 330
269. Joan Miró, ‘Daphnis and Chloé’. Drypoint, 1933, on Arches paper, signed in pencil and numbered 53/100, printed by Atelier Lacourière, Paris, published by Tériade, Paris. P. 26,5 x 32 cm. S. 49.5 x 65 cm. Literature: Dupin 9. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
270. Joan Miró, ‘Ma de proverbis’. Lithograph in colours, 1970, on Arches paper, signed in pencil and numbered 56/75, printed by Arte Adrien Maeght, Paris, published by Poligrafa, Barcelona. L. 55 x 75,5 cm. S. 56,4 x 76,3 cm. Literature: Mourlot 678.
Estimate: SEK 20 000 – 25 000 / EUR 1 860 – 2 330
271. Joan Miró, From Série I. Etching in color, 1952, on Arches paper, signed in pencil and numbered 4/13. P: 38 x 45.5 cm, S: 50.5 x 66 cm. Literature: Dupin 77 (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 330 – 2 790
272. Joan Miró, ‘Plate 13’ from ‘Maravillas con Variaciones Acrósticas en El Jardín de Miró’. Color lithograph, 1975, on Arches paper, signed in pencil and numbered 38/75. S: 53 x 74.5 cm. Literature: Mourlot 1065. (d)
Estimate: SEK 15 000 – 18 000 / EUR 1 400 – 1 680
273. Joan Miró, ‘Oiseau solaire, oiseau lunaire, étincelles’ from ‘Revue XXe Siécle’. Lithograph, 1967, signed in pencil and numbered 69/75. Published by XXe Siècle éditeur, Paris and printed by av Arte Adrien Maeght. S:37.8 x 79.5 cm. Provenance: Weintraub Gallery, New York, 1968. Private Collection, Sweden. Literature: Mourlot 499. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 860 – 2 330
274. Pablo Picasso (After), ‘Vollard et son chat’. Etching and aquatint in colours, 1960, signed in pencil and inscribed E.A., published by Atelier Lacourière, Paris and with their blind stamp. P. 60,5 x 45,3 cm. S. 76,5 x 56,7 cm. Provenance: Galleri Östermalm, Stockholm. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 440 – 9 300
275. Pablo Picasso, ‘Dans l’atelier’. Etching and aquatint, 1966, on BFK Rives paper, signed in pencil and numbered 12/50. P: 39 x 56.5 cm, S: 50 x 65 cm. Literature: Bloch 1380. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 330 – 2 790
276. Pablo Picasso, ‘Portrait de Famille, Quatre Personnages’. Lithograph, 1962, on Arches paper, signed in crayon and numbered 18/50. S: 57 x 76.5 cm. Literature: Bloch 1032. (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 790 – 3 260
277. Pablo Picasso (After), ‘Paz. Estocolmo’. Colour offset, 1958, on BFK Rives paper, numbered in pencil 43/100. S: 64.5 x 49 cm. Literature: Cwiklitzer 130. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 860 – 2 330
278. Pablo Picasso (After), ‘Nu de dos’. Lithograph, 1943, signed in pencil and numbered 56/80. S: 29 x 24 cm. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 720 – 4 650
279. Pablo Picasso (After), ‘Maternité’. Collotype in colours, 1963, after Pablo Picasso, on Arches paper, signed in pencil and numbered 62/200. I. 79 x 60,5 cm. Sheet 87 x 63 cm. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 440 – 9 300
280. Pablo Picasso, ‘Minotaure caressant une femme’ from: ‘La Suite Vollard’. Etching, 1933, signed in pencil, printed by Lacourière, and published by Vollard, Paris. P. 29,6 x 36,7 cm. S. 34 x 44,5 cm. Provenance: Konstsalongen Samlaren, Stockholm. Thence by descent to the present owner. Literature: Bloch 191. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 580 – 7 440
281. Pablo Picasso, ‘La Pique II’. Lithograph, on Arches paper, signed in pencil and numbered 14/50. S: 50 x 65.5 cm Provenance: Svensk–Franska konstgalleriet, Stockholm. Literature: Mourlot 325. (d)
Estimate: SEK 50 000 – 60 000 / EUR 4 650 – 5 580
282. Pablo Picasso, ‘Femme assise au chapeau et femme debout drapée’ from: ‘La Suite Vollard’. Etching, 1934, signed in pencil. P. 27.8 x 19.8 cm. S. 44.5 x 34 cm. Provenance: Konstsalongen Samlaren, Stockholm. Thence by descent to the present owner. Literature: Bloch 210. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 580 – 7 440
283. Pablo Picasso, ‘Dans l’atelier du sculpteur’. Etching, 1963/1965, signed in pencil and numbered 16/50. Published by Galerie Louis Leris, Paris. P: 31.5 x 41 cm, S: 46 x 57.5 cm. With indistinct watermarks. Literature: Bloch 1118. (d)
Estimate: SEK 50 000 – 60 000 / EUR 4 650 – 5 580
284. Serge Poliakoff, ‘Composition rouge, verte, jaune et bleue’. Drypoint, aquatint and roulette in colours, 1964, on Arches paper, signed in pencil and numbered 22/75, published by XXe Siècle, Paris. P: 62 x 50 cm, S: 76 x 56 cm. Literature: Poliakoff & Schneider XVI. (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 790 – 3 260
285. Daniel Spoerri, ‘Brote (Bread)’ from ‘Edition MAT’. Mixed media with bread and porcelain mounted in a plexibox, 1965, signed on label on verso and numbered 57/100. 36 x 36/ 56 x 56 cm. Provenance: Galerie Leger, purchased in 1967, Malmö; Private collection, Sweden.
Estimate: SEK 20 000 – 30 000 / EUR 1 860 – 2 790
286. Victor Vasarely, ‘Topaze, blanche postif’. Painted wood, multiple, 1967, signed and numbered 19/50 on label on verso. Published by Éditions Denise Rene, Paris. 36 x 36 cm. Plexi box 40 x40 cm. Provenance: Éditions Denise Rene, Paris. Galleri Östermalm, Stockholm. (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 790 – 3 260
287. Victor Vasarely, ‘Turkiz’. Painted wood, multiple, 1967, signed and numbered 50/50 on label on verso. Published by Éditions Denise Rene, Paris. 36 x 38 cm. Plexi box 42 x40 cm. Provenance: Éditions Denise Rene, Paris Galleri Östermalm, Stockholm. (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 790 – 3 260
288. Victor Vasarely, From ‘René Descartes, Le Discours de la Méthode’. One of multiples from the portfolio ‘René Descartes, Le Discours de la Méthode’, 1969, published by Éditions Esselier. Screenprint on paper and plexi, signed in ball point pen and numbered 134/138. 47 x 42 cm. (d)
Estimate: SEK 15 000 – 18 000 / EUR 1 400 – 1 680
Contemporary Prints
289. Banksy, ‘Napalm’. Screenprint, 2004, signed in pencil and numbered 397/500. Published by Pictures on Walls with their blind stamp. 37 x 58 cm. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 440 – 9 300
290. Jean Dubuffet, ‘Marche en campagne’. Screenprint, 1975, signed in pencil and numbered 21/70. Published by Pace Editions, Inc., New York. I: 79.4 x 70.8 cm. Literature: Webel 1171. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
291. Richard Hamilton, ‘I’m dreaming of a black Christmas’. Screenprint with collage, 1971, signed in pencil and numbered 40/150. Published by Professional Prints A.G., Zug and printed by H. P. Haas, Dietz Offizin, Lengmoos. I: 57 x 81.5 cm, S:75 x 100 cm. (d)
Estimate: SEK 100 000 – 150 000 / EUR 9 300 – 13 940
292. David Hockney, ‘Portrait of Cavafy II’. Etching and aquatint, 1966, signed in pencil and numbered 74/75. P: 34 x 23 cm, S: 46 x 33 cm.
Literature: Scottish Arts Council, Tokyo 59 (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 720 – 4 650
293. Jasper Johns, ‘6’ from ‘0–9’.
293 A. Jasper Johns, ‘9’ from ‘0–9 (A set of Ten Numerals)’.
Lithograph in colours, 1963, signed in pencil and numbered C/C 5/10. Published and printed by Universal Limited Art Editions, West Islip, New York, with their blindstamp. I: 40 x 31 cm.
Etching with aquatint, 1975, signed with pencil and numbered 24/100. Printed by Aldo Crommelynck, Paris, published by Petersburg Press, London and New York. P: 6.5 x 5.5 cm. S: 21 x 15 cm.
Provenance: Swann Galleries, New York, 1999; Private Collection, Sweden.
Literature: Field 207.
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
Estimate: SEK 20 000 – 30 000 / EUR 1 860 – 2 790
294. Jasper Johns, ‘Cups 4 Picasso’.
295. Ellsworth Kelly, ‘Blue and yellow and red orange’ from ‘Suite of Twenty–Seven Color Lithographs’.
Lithograph in colors, on Hanga paper, 1972, signed and dated in pencil, numbered 15/39 (there were also five artist’s proofs), published by ULAE, West Islip, New York, with their blindstamp. I: 35.9 x 81.9 cm, S: 56.5 x 81.9 cm. Provenance: Elaine Horwitch Galleries; Swann Galleries, New York, 11 November 1999, cat no 732; Private Collection, Sweden.
Estimate: SEK 20 000 – 30 000 / EUR 1 860 – 2 790
Lithograph, 1964–65, signed in pencil and numbered 59/75. Published by Maeght Éditeur, Paris and printed by Maeght Imprimerie, Levallois–Perret, Paris.S: 89.5 x 60 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 720 – 4 650
307. Roy Lichtenstein, ‘Foot and hand’.
Roy Lichtenstein In America Pop Art came to challenge the abstract expressionism that had (in different ways) dominated the fifties and parts of the sixties. While artists such as Jackson Pollock focused on introspection and on the individual, Pop Art and its related fields instead decided to take an interest in industrialised processes, mass–consumerism, and more extroverted art. Early on Roy Lichtenstein (1923–1997) became a prominent figure within Pop Art. Roy Lichtenstein was born in 1923 into an affluent New York family. His first artistic education was at the Arts Students League. The outbreak of the Second World War meant that Lichtenstein, like many young men of his generation, had to interrupt his studies to serve in Europe. However, with the benefits offered by the American government to returning soldiers he was able to complete his education and graduate. In 1960 he began teaching at Rutgers University, which at the time was an important place for activism and avant–garde movements. The university campus became a site where happenings, performances and collaborations between students and staff were allowed to happen. This is where the American Fluxus movement drew strength and early attempts at ‘Environmental Art’ / ‘Earth Art’ occurred. During the 1950s Lichtenstein worked in the same abstract expressionist style that was so characteristic of the American art climate at that time. However, the new currents of thought on the Rutgers’ campus brought about Lichtenstein’s first works based on comic strip narratives, using his unmistakeable ‘Ben–Day dots’ – a cheap method to create illustrations that
conveyed texture and gradations of colour in comic books. It was also at this time that he began to isolate, cut off and enlarge different elements of comic strip panels. This tendency within art is called ‘appropriation’, something that Lichtenstein was an early adopter of, and an area where he became quite the trendsetter. At first glance Lichtenstein’s art is entertaining. Yet on closer inspection you will find that in most cases it is also a critique of the society that the work is mirroring – questioning gender, representation and consumerism. Important Prints contains a major collection of Lichtenstein prints that demonstrate the many different sides of this multifaceted artist. There are a number of works from the early sixties that flirt with Fluxus by focusing on collage and material experiments, for example Moonscape (1965) and Fish and Sky (1967). The iconic ‘Ben–Day dots’ are of course represented here in Foot and Hand (1964) and Brushstroke (1967), for those who prefer that period. Something else that emerges is Lichtenstein’s great knowledge of art history, noticeable in the way he borrows famous motifs but makes them ‘Lichtensteiny’. Two examples of this are Yellow Haystack (1969) and Cathedral #6 (1969), which both reference the famous series of paintings by Claude Monet. Mirror images and reflections are also a constant presence in his entire production. This was another way of working with surfaces and depicting reflections, methods which, in the auction, are most notable in Still Life from The Metropolitan Scene (1968) as well as in the etching called Mirror (1990).
296. Roy Lichtenstein, ‘Turkey shopping bag’. Silkscreen, 1964, from an edition of aprox 200, published by Bianchini Gallery. 59 x 43 cm. Provenance: Jack Glenn Gallery, California; Sotheby’s, New York, 1987; Private Collection, Sweden. Literature: Corlett App.4
Estimate: SEK 20 000 – 25 000 / EUR 1 860 – 2 330
297. Roy Lichtenstein, ‘Fish and sky’ from ‘Ten from Leo Castelli’. Screenprint and collage mounted on three–dimensional lenticular offset, 1967, signed in pencil and numbered 83/200. Published by Tanglewood Press, New York. I: 28 x 36 cm. Provenance: Sotheby’s, New York, 1996; Private Collection, Sweden. Literature: Corlett 50.
Estimate: SEK 40 000 – 50 000 / EUR 3 720 – 4 650
298. Roy Lichtenstein, ‘Foot medication’.
299. Roy Lichtenstein, ‘Seascape II’ from Édition MAT 6.
Offset lithograph, 1963, signed in pencil and numbered 86/100. Published by Leo Castelli, New York. 39.5 x 39.5 cm, S:58 x 43 cm.
Silkscreen and die–cut collage on blue Rowlux, 1965, signed and numbered 88/100 on label on verso. Height 33.5, width 63, depth 9.5 cm.
Literature: Corlett App.3
Literature: Corlett 40.
Estimate: SEK 20 000 – 30 000 / EUR 1 860 – 2 790
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
300. Roy Lichtenstein, ‘Sunrise’. Offset lithograph, 1965, from the edition of unknown size. Printed by Graphic Industries, Inc., New York and published by Leo Castelli Gallery, New York. I: 43.5 x 59 cm, S: 46 x 62. Provenance: Christie’s, Park Avenue, New York, 1989; Private Collection, Sweden. Literature: Corlett II.7
Estimate: SEK 50 000 – 70 000 / EUR 4 650 – 6 510
301. Roy Lichtenstein, ‘Moonscape’ from ‘11 Pop Artists, Volume I’. Screenprint on Rowlux, 1965, signed and numbered 151/200 on verso. Published by Original Editions, New York. 50.5 x 60.5 cm. Provenance: Phillips, New York, 1987; Private Collection, Sweden. Literature: Corlett 37.
Estimate: SEK 125 000 – 150 000 / EUR 11 620 – 13 940
302. Roy Lichtenstein, ‘Landscape I’ from ‘Ten Landscapes’. Screenprint, 1967, signed in pencil and numbered 8/100 on verso. Published by Original Edition, New York and printed by Fine Creations, Inc., New York. 27.5 x 45 cm. Provenance: Christie’s Park Avenue, New York; Private Collection, Sweden. Literature: Corlett 51.
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
303. Roy Lichtenstein, ‘Cathedral #6’. Lithograph, 1969, signed in pencil and numbered 41/75, published by Gemini G.E.L. with blindstamp. S: 123 x 82.5 cm. Literature: Gemini Publication Sequence Number 147.
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
304. Roy Lichtenstein, ‘Pyramids’. Lithograph, 1969, signed in pencil and numbered A/P VI. Also with inscription in pencil: ‘to Connie and Jack’. Published by the artist for the Print Collectors of the Friends of Art, Kansas City, Missouri I: 29 x 88 cm, S: 42 x 98.5 cm. Provenance: Sotheby’s, New York; Private Collection, Sweden. Literature: Corlett 87.
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
305. Roy Lichtenstein, ‘Brushstrokes’. Screenprint, 1967, signed in pencil and numbered 275/300. Published by Leo Castelli Gallery, New York, for the Pasadena Art Museum, California. S: 58.5 x 78.5 cm. Provenance: Bo Alveryd, Malmö, 1960; Private Collection, Sweden. Literature: Corlett 45.
Estimate: SEK 80 000 – 100 000 / EUR 7 440 – 9 300
306. Roy Lichtenstein, ‘Yellow Haystack’. Screenprint in colours, 1969, on Fabriano paper, signed in pencil and numbered 51/250. Published by Gabriele Mazzotta Editore, Milan, with their blindstamp. I: 36.5 x 43.5 cm. S: 48.5 x 66 cm. Provenance: Christie’s, New York, 1987; Private Collection, Sweden. Literature: Corlett 84.
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
307. Roy Lichtenstein, ‘Foot and hand’. Offset lithograph, 1964, signed in pencil and numbered 178/300, published by Leo Castelli Gallery, New York. S:43.5 x 54.5 cm. Provenance: Keith .H. Barker Collection, New York; Christie’s, New York, 1986; Private Collection, Sweden. Literature: Corlett II.4
Estimate: SEK 60 000 – 80 000 / EUR 5 580 – 7 440
308. Roy Lichtenstein, ‘Still Life’ from ‘The Metropolitan Scene’. Screenprint on metal, 1968, signature in the metal and numbered 30/50, published by Tanglewood Press Inc., New York. 92 x 92 cm. Provenance: Keith .H. Barker Collection, New York; Christie’s, New York, 1986; Private Collection, Sweden. Literature: Corlett 64.
Estimate: SEK 100 000 – 125 000 / EUR 9 300 – 11 620
309. Roy Lichtenstein, ‘Joanna’. Offset lithograph, 1968, signed in pencil. Published by 20th Century Fox, Los Angeles. I: 39 x 57 cm. Literature: Corlett, III24.
Estimate: SEK 12 000 – 15 000 / EUR 1 120 – 1 400
310. Roy Lichtenstein, ‘Mirror’. Screenprint, 1990, signed in pencil and numbered 129/250, published by Gemini G.E.L with their blindstamp. S: 25 x 18 cm. Provenance: Sotheby’s, New York, 1999; Private Collection, Sweden. Literature: Gemini Publication Sequence Number 1450.
Estimate: SEK 25 000 – 30 000 / EUR 2 330 – 2 790
311. Roy Lichtenstein, ‘Untitled I’. Etching, 1980, signed in pencil and numbered 2/8. Published by Tyler Graphics LTD, New York with their blindstamp. I: 22 x 22 cm, S: 58 x 52 cm. Provenance: Harcus Krakow Gallery, Boston; Christie’s, New York, 1987; Private Collection, Sweden. Literature: Corlett 179.
Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
312. Roy Lichtenstein, ‘Dancing figures’. Etching, 1980, signed in pencil and numbered 28/32. Published by Tyler Graphics Ltd., New York. P: 29 x 26 cm. S: 63.5 x 56.7 cm. Provenance: Christie’s, New York, 1986; Private Collection, Sweden. Literature: Corlett 171.
Estimate: SEK 40 000 – 60 000 / EUR 3 720 – 5 580
313. Robert Motherwell, ‘Harvest with two stripes’. Lithograph, pochoir and collage, 1973, signed in pencil and numbered 21/55. Published by Gemini G.E.L. with their blindstamp. I: 76 x 30.3 cm, S: 89 x 47 cm. Literature: Gemini Publication Sequence Number 476.
Estimate: SEK 15 000 – 20 000 / EUR 1 400 – 1 860
314. Yoshitomo Nara, ‘What’s Going On’. Xerox print, 1999, signed in pencil and numbered 44/50. I: 33.5 x 25.5 cm. Estimate: SEK 30 000 – 35 000 / EUR 2 790 – 3 260
315. Claes Oldenburg, ‘Baked Potato’. Cast resin multiple, painted with acrylic, 1966, signed CO and numbered 69/75. With the original plate. 30 x 14 cm. Provenance: Doyle Galleries, New York 1987; Private Collection, Sweden.
Estimate: SEK 20 000 – 25 000 / EUR 1 860 – 2 330
316. Claes Oldenburg, ‘Knäckebrod’. Multiple in cast iron, 1966, signed Oldenburg and numbered 145/250. 9 x 16 cm. Provenance: Swann Galleries, New York; Private Collection, Sweden.
Estimate: SEK 10 000 – 12 000 / EUR 930 – 1 120
317. Claes Oldenburg, ‘London knees’.
318. Cy Twombly, From: ‘Natural History, Part II: Some Trees of Italy’.
Multiple in latex with poyuretan cover, stampsigned and dated –66. Numbered 107/120 on the justification du tirage. Suitcase and individual covers for each knee accompanies the lot. Each knee 39 x 15 cm.
Lithograph, granolithograph and collotype, 1975–1976, on Fabriano Bütten wove paper, signed in pencil and numbered 33/98. Printed by Matthieu Studio, Zürich–Dielsdorf, published by Propyläen Verlag, Berlin. S: 74.5 x 56 cm.
Provenance: Sotheby’s, New York, 1993, Private Collection, Sweden.
Provenance: Galleriet, Lund: Private Collection, Lund.
Estimate: SEK 40 000 – 50 000 / EUR 3 720 – 4 650
Estimate: SEK 40 000 – 45 000 / EUR 3 720 – 4 190
319. Andy Warhol, ‘Liz’. Offset in colours, 196X, signed in ball point pen and dated ’67, printed by Total Color, New York, published by Leo Castelli Gallery, New York. L. 55.5 x 55.5 cm. S. 58 x 59 cm. Literature: Feldman II.7.
Estimate: SEK 400 000 – 600 000 / EUR 37 180 – 55 770
320. Andy Warhol, ‘Campbell’s soup can (Tomato)’. Silkscreen in colours, 1966, on shopping bag, published by institute of Contemporary Art, Boston. Bag circa 49 x 43 cm. Literature: Feldman II.4A.
Estimate: SEK 20 000 – 25 000 / EUR 1 860 – 2 330
Andy Warhol, ‘Queen Ntombi Twala of Swaziland’ from ‘Reigning Queens’. ‘I want to be as famous as the Queen of England.’ Andy Warhol’s world is made up by many beautiful, strong and famous women. He has through his work made them even more iconic and his fascination for women can not be denied. Most of the women he portrayed are from the world of pop culture but in 1985 he started his work with royalties in the series ‘Reigning Queens’. In the series, consisting of four screenprints in four colour variations, he por– trayed four (at the time) reigning queens: Elisabeth II of England, Beatrix of the Netherlands, Margarethe II of Denmark and Ntombi Twala of Swaziland. In the series Warhol continued his practice of manipulating existing photographs and the repetition of the portrait showcases Warhol’s interest with mass imagery and repetition, as they are reminders of the royal portraits printed on postage
stamps and currency. It would not be right not to point out that each queen that Warhol chose for the series where queens by birth, not by marriage and it is possible Warhol intentionally created this portfolio as a symbol of female autonomy and power. 321. Andy Warhol, ‘Queen Ntombi Twala of Swaziland’ from ‘Reigning Queens’. Screenprint, 1985, signed and numbered 29/40, printed by Rupert Jasen Smith, New York and published by George C.P. Mulder, Amsterdam. S: 100 x 80 cm. Provenance: Galerie Börjesson, Malmö. Literature: Feldman II 347.
Estimate: SEK 40 000 – 50 000 / EUR 3 720 – 4 650
Andy Warhol, ‘Chanel’ from ‘Ads’. The scene is the same as the show ‘Mad Men’ – Madison Avenue in New York in the beginning of the 1950’s. The American dream is very much alive and for the consumers to buy all the products that’s produced the advertisement industry is booming. One of the new kids on the block is named Andy Warhol and he quickly becomes on of the highest payed freelance illustrators. His works is sought after by high end brands such as Christian Dior and Tiffany’s. He is also frequently published in Harper’s Bazaar, Vanity Fair and Vouge. With this background the portfolio “Ads” from 1985 makes even more sense. The portfolio consists of ten original ads that Warhol has put his mark on. The portfolio was commissioned by Feldman Fine Arts and was one of the last portfolios that the artist created before his death in 1987. The ‘Ads’ portfolio can be considered a kaleidoscope of Warhol’s life and work dealing with the major subjects for the artist. ‘Chanel’ is one of the most iconic brands
in ‘Ads’. Marilyn Monroe, often portrayed by Warhol, once said she slept in nothing, but a few drops of the perfume which instantly put the brand in the same context as the female icon and all that she is associated with. The scent is also connected to sophistication, luxury and is the definition of ‘good taste’. In the work ‘Chanel’ the viewer of the artwork is placed somewhere between art, commercialism and consumerism. 322. Andy Warhol, ‘Chanel’ from ‘Ads’. Silkscreen printed in colours, 1985, signed in pencil and numbered 158/190, printed by Rupert Jasen Smith, New York, and published by Ronald Feldman Fine Arts, Inc., New York, and with their stamp on verso. I./S. 96.5 x 96.5 cm. Provenance: Art Now Gallery, Gothenburg. Literature: Feldman II. 354.
Estimate: SEK 800 000 – 1 000 000 / EUR 74 350 – 92 940
323. Andy Warhol, ‘Leonardo da Vinci, The annunciation’, from: ‘Details of renaissance paintings’. Silkscreen in colours, 1984, signed in pencil and numbered 48/60, printed by Rupert Jasen Smith, New York, published by Editions Schellmann & Klüser, Munich/New York. I: 63.5 x 94 cm, S: 81.8 x 111.8 cm. Literature: Feldman II 320.
Estimate: SEK 100 000 – 125 000 / EUR 9 300 – 11 620
324. Andy Warhol, ‘Campbell’s soup can (Tomato)’. Silkscreen in colours, 1966, on shopping bag, published by institute of Contemporary Art, Boston. Bag circa 49 x 43 cm. Literature: Feldman II.4A.
Estimate: SEK 20 000 – 25 000 / EUR 1 860 – 2 330
325. Andy Warhol, ‘Portrait of the artists’ from ‘Ten from Leo Castelli’. Silkscreen on 100 coloured styrene boxes, 1967, with incised initials in the lower blue box with Warhol’s portrait, numbered 168/200, published by Tanglewood Press, Inc., New York. 52 x 52 cm. Provenance: Multiples Inc., New York; Sotheby’s, New York, 1989; Private Collection, Sweden. Literature: Feldman II.17
Estimate: SEK 200 000 – 250 000 / EUR 18 590 – 23 240
Andy Warhol, ‘The Shadow’, from: ‘Myths’. ‘The Shadow’ was one of several Americana culture references that Warhol used in the portfolio ‘Myths’ from 1981. The character ‘The Shadow’ started on the radio during the 1930’s but later became a comic strip character and it is from this media he is mot famous. His trademarks were a black cloak and a broadrimmed hat. In this unusual diamond dust print from ‘Myths’ the artist is a master at using references and combing it with a self portrait leaving the viewer in a very dubious position when interpreting it. The work also shows how important the self–portrait was to Warhol and maybe how he perceived himself – like a shadow. 326. Andy Warhol, ‘The Shadow’, from: ‘Myths’. Silkscreen in colours and with diamond dust, 1981, signed in pencil and numbered EP 1/5 (Exhibition proof), printed by Rupert Jasen Smith, New York, published by Ronald Feldman Fine Arts, Inc., New York. 96,4 x 96,3 cm. Literature: Feldman II.267.
Estimate: SEK 1 000 000 – 1 200 000 / EUR 92 940 – 111 530
327. Andy Warhol, ‘Josef Beuys’. Offset on paper, 1980/83. Signed Andy Warhol and Joseph Beuys. I: 33 x 27.5 cm. S: 40 x 30 cm. Literature: Compare Feldman 242.
Estimate: SEK 25 000 – 30 000 / EUR 2 330 – 2 790
328. Tom Wesselmann, ‘Lulu’. Lithograph, 1982, signed in pencil and numbered 96/250. Published by Met Opera Fine Art with their blindstamp. I: 42 x 63 cm. S: 56 x 76. 5 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 720 – 4 650
329. Tom Wesselmann, ‘Seascape (Foot)’ from ‘Edition 68’. Screenprint, 1968, signed with pencil and numbered 81/150, printed by documenta–Foundation, Kassel, Germany. I: 45 x 45 cm, S: 60 x 60 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 790 – 3 720
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