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Head specialist art/Deputy Managing Director Andreas Rydén, +46 728 58 71 39 andreas.ryden@bukowskis.com Specialist Contemporary Art Louise Wrede, +46 739 40 08 19 louise.wrede@bukowskis.com Specialist Photographs & Contemporary Art Karin Aringer, +46 702 63 70 57 karin.aringer@bukowskis.com Specialist Prints Marcus Kinge, +46 739 40 08 27 marcus.kinge@bukowskis.com
Cover: Jim Nutt, ‘Huge’. Back: Mario Bellini, sofa, ‘Camaleonda’, B&B Italia, ca 2020. Paul Fägerskiöld, ‘Liberated Colour Series’. Poul Kjaerholm, an occasional table, ‘PK 65’, Fritz Hansen, 1980s. TAF, a pair of stools, ‘Famna’, Firma Svenskt Tenn, Sweden 2020. Eva Hild, ‘Interlace’, Sparsör, 2021, unique.
Auction Live Wednesday October 25 From 10 am (CEST) Design From 1 pm (CEST) Photography Christian Zätterström Collection Art for the Globe Contemporary Art Prints From 7 pm (CEST) Important Timepieces N° 651
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Lot. no 1 – 1 50 Lot. no 151 – 274 275– 313 314–337 338 – 494 495 – 529 Lot. no 1 – 108
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1. FOLKFORM (Sweden) a ceiling lamp, ‘Suburban Skyline’, first edition Studio Folkform, 2013. Brass plates, one light fixture, width 50 x 50, height 37 cm, adjustable height to ceiling, ca 100–150 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 Chandra Ahlsell (f. 1973), Anna Holmquist (f. 1978) MFA, Konstfack 2005. Royal Danish Academy of Arts 2005. Goldsmiths College of Art, London 2000. Folkform is Anna Holmquist and Chandra Ahlsell. They founded Folkform in 2005 after studying at Konstfack in Stockhom. Folkform have been rewarded with several design awards and are represented in several museum collections as the Nationalmuseum in Stockholm and National Museum in Norway.
2. Finn Ahlgren (Sweden, 1977-) / Godspeed, a unique ‘trash sideboard’, his own studio, Stockholm 2014. White-painted wood, two pairs of doors and two drawers, internally painted in different colors, signed Finn Ahlgren 2014. Length 289 cm, depth ca 56 cm, height ca 66 cm. Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620 (d) Finn Ahlgren (born 1977-) was previously part of the Swedish/Dutch design duo Godspeed but has been working under his own name since 2014. The sideboard is one of the first pieces that Ahlgren created and signed independently. The furniture/objects he creates are all unique and made to order. Ahlgren works conceptually with design and questions norms and traditions by using recycled materials and a design language that does not fit within the conventional framework: “Being in the middle of an ongoing process as we are, the ugly has become the beautiful and wrong has become right. Useless is now useful and worthless became valuable”. Ahlgren gained attention for his concept “Nöj dig” (Settle for Less) during Stockholm Designweek 2022.
3. TAF, Gabriella Lenke & Mattias Ståhlbom (Sweden, 2002-) a pair of stools, ‘Famna’ Svenskt Tenn, Sweden 2020. Upholstered in a white fabric, white lacquered wooden feet, maker’s mark OH Sjögren 2020, seat height ca 35 cm, 70 x 70 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
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2. Finn Ahlgren / Godspeed, a unique ‘trash sideboard’. 116. Ettore Sottsass, a ‘Tahiti’, table lamp, Memphis. 300. Sylvan Lionni, ‘Airmail’. 124. Marc Newson, a ‘Felt Chair’, Cappellini.
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4. Robert Wilson (USA, 1941-) a ‘Strindberg chair, Dream Play’ for The Stockholm City Theater, 1998. Handpainted wood, light- and dark blue, seat height 44 cm, height 146 cm. Provenance: Reportedly, a gift from Robert Wilson in person in connection with the production of August Strindberg’s ‘Ett Drömspel’ at Stockholm’s Stadsteater, 1998. Thence by descent within the family.
Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310
5. Robert Wilson (USA, 1941-) a ‘Strindberg chair, Dream Play’ for The Stockholm City Theater, 1998. Handpainted wood, light- and dark blue, seat height 44 cm, height 146 cm. Provenance: Reportedly, a gift from Robert Wilson in person in connection with the production of August Strindberg’s ‘Ett Drömspel’ at Stockholms Stadsteater, 1998. Thence by descent within the family.
Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310
6. Eva Zethraeus (Sweden, 1971-) a unique porcelain sculpture, executed in her own studio, Gothenburg 2016. Green glaze with painted details, height 18 cm. Exhibitions: Blås & Knåda, Stockholm 2016.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 700 (d)
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7. Johanna Jansson (Sweden, 1977-) a unique glass sculpture ‘Make Love not Art’, ‘Graffiti Silverbjörkar’, Liam Reeves & Anthony Harris, RCA, London 2007. White overlay against black, engraved decor with the text: MAKE LOVE NOT ART - STOP AND BUY ME - DONT COPY. Height 62 cm. Exhibitions: Johanna Jansson’s MFA graduation, The Royal College of Arts London, exhibited at “The Great Exhibition”, Hyde Park 2007. Young Glass, Ebetoft Glass Museum Denmark 2007. Solo exhibition at The Glassery, Stockholm 2008. SOFA Chicago Navy Pier, BIGG Selected, USA 2009.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 700 (d)
8. Fredrik Paulsen (Sweden, 1980-) a ‘Röhsska’ chair, ed. 1/102, provenance ‘Fredrik’s Fun Fair’, The Design Bar at Stockholm Designweek, Blå Station 2020. Solid beach wood, seat and back in yellow stained pine plywood, marked RÖHSSKA Design Bar 2020 1/102 Design Fredrik Paulsen 2019 Blå Station, height 83 cm, seat height 45 cm. Provenance: ‘Fredrik’s Fun Fair’, The Design Bar, a pop-up bar during Stockholm Design Week at Älvsjömässan in 2020.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 700 (d)
9. Fredrik Paulsen (Sweden, 1980-) a ‘Röhsska’ chair, ed. 83/102, provenance ‘Fredrik’s Fun Fair’, The Design Bar at Stockholm Designweek, Blå Station 2020. Solid beach wood, seat and back in blue stained pine plywood, marked RÖHSSKA The Design Bar 2020 83/102 Design Fredrik Paulsen 2019 Blå Station, height 83 cm, seat height 45 cm. Provenance: ‘Fredrik’s Fun Fair’, The Design Bar, a pop-up bar during Stockholm Design Week at Älvsjömässan in 2020.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 700 (d)
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10. Gunilla Maria Åkesson (Sweden, 1963-) ‘Vessel no 72’, a unique stoneware pot, executed in her own workshop, Gärsnäs, Sweden 2020. Decorated and glazed in red and white, signed GMÅ 2020, height 23 cm, diameter 24 cm. Provenance: Received prize in Handelsbanken’s art lottery. Exhibitions: Galleri Sebastian Schildt, Stockholm, Gunilla Maria Åkesson ‘Kärl’, 21st of August - 19th of September 2021.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 700 (d)
11. Louise Liljencrantz (Sweden, 1978-) a ‘Small Key Star Side Table’, Veermakers / KFK Master Cabinet Makers, Stockholm, 2021. The top made out of solid walnut with carved sides, walnut base, maker’s mark Louise Liljencrantz KFK Master Cabinet Makers. Height 43 cm, diameter 50 cm. Estimate: SEK 30 000 – 35 000 / EUR 2 620 – 3 050
12. Lotta Braathen (Sweden, 1960-) a unique easy chair, ‘Skottkärran (the wheelbarrow)’, executed in her own studio, Stockholm 1996. The armrests in stained laminated mahogany, the back in ash with a handcarved surface, the leg in cherry with wheel in beech, the seat in birch plywood, removable magazine rack in oak, seat height 41 cm, height ca 112 cm. Provenance: Exhibited at the furniture fair in Älvsjö, 1997.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
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146. Jan Bocan, a pair of easy chairs, Thonet. 11. Louise Liljencrantz, ‘Small Key Star Side Table’. 329. Rune Rydelius, ‘Dans’. 482. Tal R, ‘Larsson’. 123. Shiro Kuramata, a ‘Revolving Cabinet’, Cappellini.
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13. Hanna Hansdotter (Sweden, 1984-) a sculpture, ‘Dripping print’, ed. AP 1,
99. Eva Hild (Sweden, 1966-) ‘Interlace’, executed in her studio, Sparsör 2021.
13. Hanna Hansdotter (Sweden, 1984-) a sculpture, ‘Dripping print’, ed. AP 1, The Glass Factory, Boda Glasbruk 2018. Mould blown and silvered glass, in the colouring ‘soft pink metallic’, signed Hanna Hansdotter AP1 2018, height 50 cm. This is the AP1 in an edition of 1+2 AP (Artist’s proof). Glassblower Björn Friborg + Mikael Jacobsson. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d) Hanna Hansdotter has emerged as one of the most talked-about glass artists of our time, using glass as her artistic expression. She works both from a studio in Småland and for Kosta Boda. She has participated in various exhibitions, including Richard Heller Gallery (LA), Galleri Hantverket, and The Glassery in Stockholm. Her final exhibition “Avtryck” at Konstfack in 2017 marked the beginning of a new expressive visual language. Her pursuit of creating ornamental and tactile patterns in glass started here, and she has since created a series called “Fading Prints” with sculptural glass objects that have made a significant impact. “Fading Prints” is a series of glass sculptures that move between the ornamental and the abstract, where the technique is a reinterpretation of blown glass, with the objects expanding between individually shaped iron grids. She was named the Rising Star of the Year at the Elle Decoration Design Award 2018. Hanna Hansdotter is represented in the collections of the National Museum in Stockholm.
14. Jenny Nordberg (Sweden, 1978-) a unique floor mirror, ‘3 to 5 seconds’, made to order 2020. Silver-plated and painted glass, height 160 cm, width 54 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d) During the project “3 to 5 seconds - Fast handmade production” in 2014, Jenny Nordberg researched antique mirror production. The process and result were fascinating, and since then Nordberg has been working with this old method to make mirrors. The process used has its roots in the 19th century and results in a thin layer of silver (Ag) on the glass surface. Since the entire surface of the glass is not covered, each mirror becomes unique due to uncontrollable fluids in the manufacturing process.Jenny Nordberg, born in 1978, is an industrial designer (MFA) based in Skåne. Nordberg works in an investigative and interdisciplinary manner to expand the contemporary view of design and the designer’s role. Whether it is an experimental, conceptual, or commercial project, she is driven by a search for alternatives to and strategies against irresponsible mass production.
15. Erik Bratsberg (Sweden, 1984-) a ‘Lorian’, floor lamp, first edition, executed in his workshop, Stockholm, 2021. Base in marble (Bardiglio Nuvolato), walnut and pigmented epoxy resin. Shade in brass and straw textile from natural ‘Sinamay’ fibre, signed Erik Bratsberg Lorian 2022 First Ver., height ca 150 cm, width ca 27 cm, depth ca 25 cm. Provenance: New Narratives, Stockholm Furniture Fair, Älvsjö Gård, 2023.
Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620 Erik Bratsberg (b. 1984),an autodidact artist working with crafts in his own workshop since 2019, under his own name, freely exploring mediums, materials, forms and spaces with a holistic and multidisciplinary approach to aesthetics. Recently appriciated for his interior design of restaurant Persona in Stockholm and items exhibited at “New Narratives” during Stockholm Furniture Fair, Älvsjö Gård, 2023
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16. Erik Bratsberg (Sweden, 1984-) a ‘Lorian’ table lamp, ed. 1/10, executed in his workshop, Stockholm, 2021. Base in marble (Emperador), shade in brass and straw textile from natural ‘Sinamay’ fibre, signed Erik Bratsberg ed. 1/10 + 2 ap 2021, height ca 64 cm, width ca 24 cm, depth ca 41 cm. Exhibitions: This model exhibited ‘New Contemporary’ under Stockholm Creative Edition 2022.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
17. Ernst Billgren (Sweden, 1957-) an ‘Ermina’ glass sculpture, Berengo Studio. Murano, Italy 1999, ed. 3/29. Green, red, white and yellow glass, signed ERNST BILLGREN 3/29. Height 25 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
18. Ernst Billgren (Sweden, 1957-) ‘Väktare’ (Guardian) sculpture, Berengo Studio, Murano, Italy 2000, ed. 2/6. Four mallards in multi-coloured glass, signed BILLGREN 2/6, height 44.3 cm. Exhibitions: Liljevalchs, Stockholm, ‘Ernst Billgren’, 28th of October - 7th of January 2001. Literature: Carl Johan de Geer, ‘Ernst Billgren’, 2000, compare the model ill. p 163.
Estimate: SEK 40 000 – 45 000 / EUR 3 490 – 3 920 (d)
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118. Franz West, a ceiling lamp, Meta Memphis.
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13. Hanna Hansdotter, sculpture, “Dripping print”, The Glass Factory.
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19. David Taylor (Sweden, 1966-) a unique table lamp, ‘Reading Lamp’, his own studio, 2014. Concrete, aluminium and plastic. Height 42 cm. Provenance: MADE BY, Vikingagatan, Stockholm 2014.
Estimate: SEK 4 000 – 6 000 / EUR 350 – 530 (d)
20. Jan Ekselius (Sweden, 1946-) a pair of lounge chairs, ‘Etcetera’, J.O. Carlssons Möbel AB, Vetlanda, 1960–70s. Original blue fabric, seat height ca 42 cm, height 69 cm. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
21. Jan Ekselius (Sweden, 1946-) a pair of lounge chairs, ‘Etcetera’, J.O. Carlssons Möbel AB, Vetlanda, 1960–70s. Original blue fabric, seat height ca 42 cm, height 69 cm. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
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22. Uno & Östen Kristiansson (Sweden, 1925–2009) a ceiling lamp, Luxus, Vittsjö, Sweden 1950–60s. Oak frame, 10 white glass shades, adjustable height ca 150 cm, diameter ca 115 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
23. Peter Celsing (Sweden, 1920–1974) a set of 10 brass wall lamps, model ‘Band’, Falkenbergs Belysning, Sweden 1960s. Marked FLB Falkenbergs Belysning, dimensions 20 x 20 cm, depth approximately 16 cm from the wall. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
24. Karl Erik Ekselius (Sweden, 1914–1998) a dining table, J.O Carlssons Möbel AB, Vetlanda, Sweden 1971. Walnut, maker’s mark JOC Karl Erik Ekselius and dated 1971, diameter 130 cm, height 69 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
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25. Wilhelm Lutjens (Netherlands) a bookshelf/room divider, model ‘545’, De Boer Gouda, The Netherlands 1950–60s. Black lacquered wood, beech plywood shelves, height 132 cm, length 150 cm, depth ca 30 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310
26. Ernest Race (Great Britain, 1913–1964) a ‘Penguin Donkey Mark II’ bookshelf, Isokon, England, 1960s. Grey lacquered wood, teak base, height 40 cm, length 53 cm, depth 40 cm. Estimate: SEK 4 000 – 6 000 / EUR 350 – 530
27. Hans-Agne Jakobsson (Sweden) a model ‘G-123’ floor lamp, Hans-Agne Jakobsson AB Markaryd, Sweden 1960–70s. Brass frame with a spherical fabric lampshade, maker’s mark Hans-Agne Jakobsson AB Markaryd G123/600, height ca 147 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
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28. Hans-Agne Jakobsson (Sweden, 1919–2009) a large ceiling light fixture, model ‘T261–12’, Hans Agne Jakobsson AB, Markaryd, 1960s. Frame in brass, 12 shades with plastic diffusers, maker’s mark Hans Agne Jakobsson AB, Markaryd, height approximately 100 cm, length approximately 310 cm. Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710
29. Hans-Agne Jakobsson (Sweden, 1919–2009) a ‘Sonata’ chandelier, model T-434/24, Hans Agne Jakobsson AB, Markaryd, Sweden 1960–70s. Brass, 24 smoke coloured glass shades, height ca 270 cm, diameter ca 72 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
30. Åke Fribyter (Sweden, 1922–1998) an ‘Arena’ armchair, Scapa Industri AB, Sweden 1960s. Base in oregon pine, with seat and armrests upholstered in black leather, seat height 38 cm, height 70 cm. Literature: Siesing, Andreas, Svenska 70-talsmöbler: i plast, stål, furu och manchester 1969-1980, Lindelöws bokförlag, Gothenburg 2021, p 365.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
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31. Erik Höglund (Sweden, 1932–1998) a chandelier for 12 candles, Boda Smide, Sweden, probably 1960–70s. Wrought iron, cast and blown clear glass, height without links ca 95 cm, diameter 100 cm, height 49 cm. Three additional links measuring 17 cm each are enclosed. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
32. Claésson & Bringzén (Börje Claesson & Kenneth Bringzén) (Sweden, 1941-) a floor lamp, Bredaryd, Sweden 1970s. Arm in chrome-plated tubular steel, base in white lacquered metal, spherical shade in aluminum and acrylic glass, adjustable height approximately 160–200 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
33. Terje Ekstrøm (Norway, 1944–2013) armchair, ‘Ekstrem’, for Stokke Fabrikker, Norway, circa 1984. Upholstered in a green original fabric, wooden feet, seat height 40 cm, height 80 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
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34. Erling Viksjø (Norway, 1910–1971) a coffee table for A/S Conglo, Norway, 1960–70s. A conglomerate (Terazzo) stone top with brass lining, base in rosewood. Diameter 100 cm diameter, height 49 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
35. Ilmari Tapiovaara (Finland, 1914–1999) a ‘Congo Chair’, Laukaan Puu, Finland 1950s. Beech, two assembled parts, height ca 80 cm, seat height ca 34 cm. Estimate: SEK 6 000 – 8 000 / EUR 530 – 700
36. Esko Pajamies (Finland, 1931–1990) an armchair, ‘Pompadour’, Asko, Finland 1960–70s. Frame in black lacquered wood, seat in red leather, seat height 43 cm, height 83 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
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37. Kai Ruokonen (Finland, 1940–2010) a floor lamp, Orno, Finland 1970s. Frame in brass, inner shade in white frosted glass, shade in brass slats, marked Orno, height 163 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360
38. Kristina Riska (Finland, 1960-) a ceramic sculpture, ‘Wala 1’, executed in her own studio, Finland 1995. Glazed ceramic, signed Kristina Riska -95, height 27 cm, length 55 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
39. Eero Aarnio (Finland, 1932-) a hanging, ‘Bubble Chair’, Adelta, Finland. Bubble made of transparent acrylic plastic with a ring of chrome plated steel, two loose cushions upholstered in a synthetic silver textile, maker’s mark Eero Aarnio Adelta Made in Finland. Diameter 104 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
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40. Yrjö Kukkapuro (Finland, 1933-) a ‘Karuselli’ swivel chair, Avarte, Finland. White fiberglass and chrome plated metal, black leather upholstery, both pieces with maker’s label, height ca 90 cm, seat height ca 40 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360
41. Warren Platner (USA, 1919–2006) a pair of ‘Platner Side Chair’ chairs, Knoll International, post 1966. Chrome plated steel frame with textile upholstery, maker’s mark. Seat height 45, width 72, height 75 cm. Estimate: SEK 45 000 – 50 000 / EUR 3 920 – 4 360
42. Warren Platner (USA, 1919–2006) a ‘Lounge chair’, Knoll Internationall, post 1966. Steel wires with a bronze finish, recently reupholstered in a white bouclé textile, seat height 50, width 96 cm. Provenance: Nordiska Galleriet, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620
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43. Ingo Maurer (Germany, 1932–2019) a wall lamp, ‘Uchiwa III’, M Design, Germany, post 1973. Lacquered rice paper, bamboo frame, one light socket, height 74 cm, width ca 58 cm. Provenance: Purchased at the gallery ‘Möbelgalleri Anna’, Gothenburg 1974.
Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310
44. Ingo Maurer (Germany, 1932–2019) a ceiling lamp, ‘Birdie’s Nest’, Germany, post 2005. Goose feathers, metal arms, diameter ca 95 cm, height ca 50 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
45. Eero Saarinen (Finland, 1910–1961) a ‘Tulip’, dining table and 6 chairs, Knoll International, 1960–70’s. Frame in die-cast white lacquered aluminium, back in molded plastic with loose cushions covered in grey textile. The chairs marked Knoll International, seat height ca 43 cm, height 80 cm. The table with top in white Carrara marble, marked Made in Italy, height 71 cm, diameter 120 cm. Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970
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46. Poul Henningsen (Denmark, 1894–1967) ‘PH Upright Piano’, Designed 1939, executed by Andreas Christensen, Denmark 1950s. Lacquered wood, chrome plated metal, details in leather, keys in celluloid and ebony, on wheels, height ca 112 cm, length 142 cm, depth 54 cm. Literature: Jørstian, Tina & Munk Nielsen, Poul Erik (ed), ‘Tænd!: PH lampens historie’, Gyldendal, Copenhagen, 1994, compare p. 165.
Estimate: SEK 100 000 – 150 000 / EUR 8 710 – 13 070 Poul Henningsen (1894–1967) was a significant Danish architect and a prominent figure in Danish cultural life. His influence spans generations, and Henningsen is internationally known for his timeless classics in modern design, particularly from the 1920s and 1930s. His furniture design was and still is recognized as groundbreaking, playing an important role in putting Danish design on the global map. However, like many other designers, it was only a matter of time before his creativity was directed towards a new creation - the piano. In line with Henningsen’s innovative design philosophy, his first piano design, the PH Grand Piano from 1931, broke all the rules. With brass legs and a transparent celluloid casing that revealed the piano’s mechanics, this was a revolutionary creation for its time. Today, the piece is represented in significant design collections around the world, including the Metropolitan Museum of Art in New York. Throughout his career, Henningsen created four piano models: the PH Grand Piano, PH Bow Grand Piano, PH Pianette, and PH Upright Piano. Each piano has a unique design, ranging from modern to futuristic, and they are considered unique artworks that are regarded as classics. Henningsen believed that the piano belonged not only in the concert hall but also in the jazz club or the private home. Therefore, among the four different models, there is a PH Piano that fits perfectly in any environment or interior. This rare and sought-after example of the PH Upright Piano, designed in 1932 and manufactured by Andreas Christensen in the 1950s, shares many of the characteristic features that define Henningsen’s first piano design. It includes the use of lacquered wood, chrome-plated metal, leather details, as well as celluloid and ebony keys, but with the advantage of fitting in smaller rooms and environments. The minimalist design sets it apart from the one typically associated with the traditional piano and represents yet another example of Henningsen’s ability to redefine conventions and create timeless works that inspire. The PH Upright Piano is equally suitable as a musical instrument for the music lover as it is a beautiful artistic piece for the home.
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47. Poul Kjaerholm (Denmark, 1929–1980) an occasional table, ‘PK 65’, Fritz Hansen, 1980s. Brushed steel, top in flint rolled Carrara marble, height 38.5 cm, ca 100 x 100 cm. Provenance: Acquired in Copenhagen in the 1980s.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
48. Poul Kjaerholm (Denmark, 1929–1980) a three-piece ‘PK-71’ nesting table, Fritz Hansen, Denmark, 2014. Polished steel with black acrylic tops, the largest table 28.2 x 28.2 cm, height 29 cm. Estimate: SEK 6 000 – 8 000 / EUR 530 – 700
49. Poul Kjaerholm (Denmark, 1929–1980) a three-piece ‘PK-71’ nesting table, Fritz Hansen, Denmark, 2014. Polished steel with black acrylic tops, the largest table 28.2 x 28.2 cm, height 29 cm. Estimate: SEK 6 000 – 8 000 / EUR 530 – 700
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46. Poul Henningsen, ‘PH Upright Piano’, Andreas Christensen.
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50. Poul Kjaerholm (Denmark, 1929–1980) a daybed, ‘PK-80’, Fritz Hansen, Denmark 2014. Upholstered in dark brown leather, frame of steel, marked ‘POUL KJAERHOLM FRITZ HANSEN DENMARK 2014’, 190 x 80 cm, height 30 cm. Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970
51. Poul Nørreklit (Denmark, 1913–2007) a three seated sofa, Selectform, Denmark 1960s. Brushed steel, cream coloured leather seat and cushions, seat height ca 38 cm, height 71 cm, width 195 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
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52. Poul Nørreklit (Denmark, 1913–2007) a set of 3 easy chairs / modular sofa, Selectform, Denmark 1960’s. Brushed steel, cream coloured leather seat and cushions, maker’s mark, Selectform Centrum Møbler, seat height ca 38 cm, height 70 cm, width ca 62 cm each. Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620
53. Preben Fabricius & Jørgen Kastholm (Denmark) a coffee table, model ‘BO-552’, Bo-EX, Denmark, 1960s. Base in brushed steel, black and white marble top, height ca 43 cm, the top 100 x 100 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
54. Jørgen Høvelskov (Denmark, 1935–2005) a ‘The Harp Chair 40th Anniversary’, JC Snedkeri, Denmark, 2003. Frame in black-stained ash, seat and back made of flag ropes, marked ‘Harp’ 40th Anniversary JC, height ca 133 cm, width approximately 104 cm, depth approximately 116 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
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55. Poul Kjaerholm (Denmark, 1929–1980) pall, ‘PK 33’, Fritz Hansen, Denmark 2008. Base in matt polished steel, seat cushion upholstered in cognaccoloured leather, maker’s mark Fritz Hansen 2008. Diameter 50, height 33 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310
56. Poul Kjaerholm (Denmark, 1929–1980) a ‘PK20’ easy chair, Fritz Hansen, Denmark 1986. Base in steel, upholstered in brown leather, maker’s mark Fritz Hansen 1986, seat height ca 37 cm, height 91 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
57. Preben Fabricius & Jørgen Kastholm (Denmark) attributed to, a large sideboard, presumably executed by cabinetmaker Poul Bachmann, Denmark 1966–1970. Veneered in ash, details in brushed steel, height 80.5 cm, length 300 cm, depth 50 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490
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58. Erik Magnussen (Denmark, 1940–2014) a pair of ‘Z-down chairs’, Torben Ørskov, Denmark, circa 1968. Frame in chrome plated tubular steel, seat and back in leather, height 73 cm, seat height 45 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620
59. Jørgen Høj (Denmark, 1925–1994) a coffee table, Niels Vitsøe, Denmark, 1960s. Rosewood top, base in steel, height ca 47 cm, the top ca 200 x 77 cm. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
60. Verner Panton (Denmark, 1926–1998) an easy chair, ‘System 1–2–3’ Model J, Fritz Hansen 1970s. Tubular steel frame, upholstered with a brown wool fabric, details of steel, wooden ball feet, height approximately 70 cm, length approximately 115 cm. Literature: Depicted in catalog, circa 1973.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
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61. Verner Panton (Denmark, 1926–1998) a ‘System 1–2–3’ De Luxe Lounge Chair, Fritz Hansen, Denmark 1970s. Frame made of steel tubes, upholstered in a blue wool fabric, aluminum base, seat height 35 cm, height 105 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
62. Verner Panton (Denmark, 1926–1998) a ‘Pantonova’ dining table with 6 chairs, model ‘102 S-G’, Fritz Hansen, Denmark 1970s. Dining table model ‘102 G’ in chrome plated steel, glass top, height 70.5 cm, diameter 120 cm, the chairs model ‘102 S’ with textile seats, height 76 cm, seat height 41 cm. Literature: Depicted in a Fritz Hansen Catalogue from 1971.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970
63. Knud Kristensen (Denmark, 1958-) a unique stoneware sculpture/ tall vessel, Denmark 1998. Hand carved and inscribed decoration with yellow engobe and glazed interior, impressed with artists monogram and inscribed signature ‘Knud Kristensen 1998’, height 55.5 cm. Estimate: SEK 6 000 – 8 000 / EUR 530 – 700 (d)
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15. Erik Bratsberg, a ‘Lorian’, floor lamp. 11. Louise Liljencrantz, a ‘Small Key Star Side Table’. 63. Knud Kristensen, a unique stoneware sculpture.
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28. Hans-Agne Jakobsson, a large ceiling light fixture, model ‘T261–12’, Hans Agne Jakobsson AB.
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64. Bodil Manz (Denmark, 1943-) a porcelain vase, own studio, Denmark. Cylinder-shaped white eggshell porcelain, decorated with black bands, signed BODIL MANZ, height 10 cm, diameter 12.5 cm. Estimate: SEK 5 000 – 6 000 / EUR 440 – 530 (d)
65. Walter Wirz (Germany, 1947-) a rosewood hanging wall shelf, Wilhelm Renz, Germany, 1960s. Maker’s mark WR, length 240 cm, height 26 cm, depth 19 cm. Estimate: SEK 10 000 – 15 000 / EUR 880 – 1 310
66. Mats Theselius (Sweden, 1956-) a ‘Rörligt Objekt’ room divider, ed. 100, Källemo, Sweden post 1989. Patinated copper, four panels, decorated in relief, height 188 cm, width 4 x 48 cm. Estimate: SEK 60 000 – 70 000 / EUR 5 230 – 6 100 (d)
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67. Mats Theselius (Sweden, 1956-) an ‘Aluminium chair’, ed. 133/200, Källemo, Sweden post 1990. Matte polished aluminium, beech and fretted leather, maker’s mark ALUMINIUMFÅTÖLJ No 133/200 MATS THESELIUS 1990 KÄLLEMO AB, height 74 cm. Estimate: SEK 75 000 – 100 000 / EUR 6 540 – 8 710 (d)
68. Mats Theselius (Sweden, 1956-) an ‘Älgskinnsfåtöljen’ lounge chair, Källemo, ed. 311/360, Sweden post 1991. Etched sheet iron, beech wood, seat upholstered with elk leather, marked ‘ÄLGSKINNSFÅTÖLJ MATS THESELIUS 1991 311/360 KÄLLEMO SWEDEN’, height 78 cm, seat height c. 47 cm. Estimate: SEK 50 000 – 75 000 / EUR 4 360 – 6 540 (d)
69. Mats Theselius (Sweden, 1956-) ‘Canapé’, ed. 35, Källemo, post 1991. Lacquered steel, red leather and walnut, Length ca 130 cm, height 75 cm, seat height 46 cm. This model was executed in an edition of 35 pieces. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360 (d)
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70. Mats Theselius (Sweden, 1956-) an ‘el Rey’ armchair, ed. 153/360, Källemo, Sweden, post 1999. Brass and black leather, signed ‘el Rey by Mats Theselius 1999 Nr: 153/360 copies for Källemo, Sweden’, seat height 31–36 cm. Estimate: SEK 75 000 – 100 000 / EUR 6 540 – 8 710 (d)
71. Mats Theselius (Sweden, 1956-) an ‘el Rey’ armchair, ed. 168/360, Källemo, Sweden, post 1999. Brass and black leather, signed ‘el Rey by Mats Theselius 1999 Nr: 168/360 copies for Källemo, Sweden’, seat height 31–36 cm. Estimate: SEK 75 000 – 100 000 / EUR 6 540 – 8 710 (d)
72. Mats Theselius (Sweden, 1956-) a ‘Järn/Mocca’ lounge chair, ed. 182/360, Källemo, Sweden, post 1994. Sheet iron, beech wood, marked ‘JÄRN/MOCCAFÅTÖLJEN Mats Theselius No 182/360 KÄLLEMO AB VÄRNAMO SWEDEN’, height 73 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360 (d)
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67. Mats Theselius, an ‘Aluminium chair’, Källemo.
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73. Mats Theselius (Sweden, 1956-) a pair of ‘Star’ easy chairs, ed. 356 and 163/360 , Källemo, Värnamo, Sweden post 2009. Chrome plated steel base, covered in artificial mother of pearl, seat upholstered in white nubuck leather, marked with label ‘STAR Mats Theselius 2009 KÄLLEMO AB 356/360 and 163/360’, height 81 cm, seat height ca 43 cm. Estimate: SEK 80 000 – 90 000 / EUR 6 970 – 7 840 (d)
74. Mats Theselius (Sweden, 1956-) a ‘Star’ easy chair, ed. 217/360, Källemo, Sweden, post 2009. Chrome plated steel base, covered in artificial mother of pearl, seat upholstered in white nubuck leather, marked with label ‘STAR Mats Theselius 2009 KÄLLEMO AB 217/360’, height 81 cm, seat height ca 43 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
75. Mats Theselius (Sweden, 1956-) a cabinet ‘National Geographic, 25th Anniversary edition’, ed. 42/220, Källemo, Sweden, post 2015. Covered in a linen textile with a printed leaf pattern, base in brass with two drawers, maker’s mark ‘National Geographic, 25th Anniversary edition’, ed. 42/220, Källemo, height 170 cm, width 58 cm, depth 29 cm. Estimate: SEK 50 000 – 60 000 / EUR 4 360 – 5 230 (d)
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76. Mats Theselius (Sweden, 1956-) an armchair, ‘The Bamboo King’, ed. 347/360, Källemo, post 2000. Base in black lacquered tubular steel, armrests 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 347/360 for Källemo Sweden’, height 73 cm, seat height 40 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
77. Mats Theselius (Sweden, 1956-) an ‘Inox’ armchair, ed. 81/199, for Källemo, Sweden post 2015. Polished steel, white soaped oak and white nubuck leather, maker’s mark ‘Aluminium chair 25th Anniversary Inox no 81/199 Mats Theselius Källemo 2015’, height 72.5 cm. Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
78. Mats Theselius (Sweden, 1956-) an ‘Inox’ armchair, ed. HC 16/19, for Källemo, Sweden post 2015. Polished steel, white soaped oak and white nubuck leather, maker’s mark ‘Aluminium chair 25th Anniversary Inox no HC 16/19 Mats Theselius Källemo 2015’, height 72.5 cm. Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
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79. C Göran Karlsson (Sweden, 1944-) a rug, untitled, hand tufted, Asplunds, approximately 220 x 162 cm. Designed in 2006. Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310
80. Jonas Bohlin (Sweden, 1953-) a ‘Concav’ chaise longue, Källemo, Sweden ca 1985. Laminated wood lacquered in purple/blue, seat upholstered in a beige fabric, legs in black lacquered metal, length 215 cm, seat height 45 cm, height 70 cm. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
81. Jonas Bohlin (Sweden, 1953-) a ‘Concrete / (In)visible Dialogues’ armchair, ed. 45/100, Källemo, Värnamo, Sweden 2011. Steel and wood frame, fluorescent paint, marked Källemo, signed and numbered 45/100. Seat height 45, back height 89,5 cm. Provenance: (In)visible Dialogues, Konstakademien Stockholm 2011.
Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310 (d) A set of 100 chairs with this finish were made and shown for the project ‘In)Visible Dialogues at the Royal Academy of Fine Arts in Stockholm in 1992.(In)Visible Dialogues was a project at the Royal Academy of Fine Arts in Stockholm, which included a number of public dialogues between internationally renowned invited speakers from various disciplines.(In)Visible Dialogues was a platform where art and science were allowed to meet. The project brought together leading figures from both the art and science fields from Europe, Asia, Australia, and the USA to stimulate meaningful dialogues about life and the boundaries of reality. (In)Visible Dialogues was initiated by the artist Per Hüttner and Elias Arnér, professor of biochemistry at Karolinska Institutet, in close collaboration with the design group Åbäke in London and a group of sound artists from around the world. The project was a continuation of the project ‘Begrepp - en Samling’ (Concept - a Collection) that was carried out in the premises of the Royal Academy of Fine Arts in 1992. Participating sound artists: Andy Cox and Richard Allalouf, Natalia Kamia, Samon Takahashi, Ebbot Lundberg, and Yan Jun
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82. Jonas Bohlin (Sweden, 1953-) a ‘Concrete / (In)visible Dialogues’ armchair, ed. 46/100, Källemo, Värnamo, Sweden 2011. Steel and wood frame, fluorescent paint, marked Källemo, signed and numbered 46/100. Seat height 45, back height 89,5 cm. Provenance: (In)visible Dialogues, Konstakademien Stockholm 2011.
Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310 (d)
83. Jonas Bohlin (Sweden, 1953-) a floor lamp ‘Nio Episoder’, ed. 3/9, Jonas Bohlin AB 2017. Iron leg lamp with a rubber base and a blown semi-transparent glass shade, marked Nio Episoder Jonas Bohlin 2017 No 3/9, ‘Episod j. Bohlin’. Height: 112 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
84. Jonas Bohlin (Sweden, 1953-) a set of six ‘Vilda 3’ chairs from Gemla, Diö, Sweden, 2018. Ash wood, seat and back upholstered with cognac colured leather, maker’s mark Gemla 2018. Height 88 cm, seat height 47 cm. Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620
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85. Jonas Bohlin (Sweden, 1953-) a runner, ‘Kosmos’, hand tufted, Kasthall, ca 288 x 72 cm. Sweden, around the year 2000. Estimate: SEK 15 000 – 18 000 / EUR 1 310 – 1 570
86. John Kandell (Sweden, 1925–1991) a sofa ‘Victory’, Källemo, Värnamo post 1990. Red lacquered beech, upholstered in a striped fabric, four cushions, height 80 cm, seat height 42 cm, length 240 cm. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
87. Anna Berglund (Sweden, 1973-) sculpture, ‘Terrin’, executed in her own studio, post 2006. Mould blown glass, silver plated inside, height ca 32.5 cm, diameter ca 37 cm. Provenance: The ‘Terrin’-series was shown as Berglund’s graduation project in 2006 at Konstfack. Bengt Julin’s Fund acquired one of the Terrin sculptures at the exhibition on behalf of the collections at Nationalmuseum in Stockholm.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 700
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88. Moa Jantze (Sweden, 1978-) a rocking chair, ‘Swing’, ed. 15/20, Olby Design, post 2006. Black lacquered wood, upholstered in a black fabric with handembroidered flowers, maker’s mark SWING 15/20 Moa Jantze signed in the embroidery MJ, height 72 cm, seat height ca. 40 cm. Exhibitions: The model was first shown at the exhibition ‘Rötter’ (Roots), Stockholm Designweek 2006.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
89. Anders Olsson (Sweden, 1949-) a sideboard, ‘Konig’, Galleri Sebastian Schildt, Stockholm, ca 2014. Cone shaped legs in brushed copper, black ‘Nero assoluto’ stone top, height to the stone top ca 88 cm, 160 x 40 cm. Provenance: Galleri Sebastian Schildt, Stockholm, 2014.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
90. Olivier Gregoire (USA, 1983-) a bench, ‘Fold’, first edition, Acne Studios, 2010. Fiberglass, height 48,5 cm, length 137 cm. Provenance: Acne Studios.
Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
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91. Jonny Johansson (Sweden, 1969-) an easy chair ‘Nya Berlin’, Studie No 2, Acne Studios, O.H. Sjögren, Tranås, 2010. Upholstered in a white wool fabric, maker’s mark, width 85 cm, depth 65 cm, height 120 cm, seat height 54 cm. Estimate: SEK 10 000 – 15 000 / EUR 880 – 1 310
92. Per Söderberg (Sweden, 1968-) a custom made ‘NEB Shelving System’ bookcase produced by No Early Birds. Shelves in ash veneer, white lacquered steel, details in brass, three shelf sections, length 240, width 40, height 168 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490
93. Claesson Koivisto Rune (Sweden) a ‘Dodo’, armchair, E&Y, Japan, post 2002. Cast plywood, upholstered in a green wool fabric, swivel base, height 51 cm, width 71 cm, depth 100 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
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94. Claesson Koivisto Rune (Sweden) ‘Adam and Eve’, a pair of daybeds, Klein Dytham architecture, Japan, 2003. Upholstered in the fabric ‘Tonica’ by Kvadrat, a wool fabric in two grey hues, lacquered steel legs, width 140 cm (combined), length 185 cm, height 31 cm. Provenance: Claesson Koivisto Rune, Made in Japan, Bukowskis, 2021.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
95. Claesson Koivisto Rune (Sweden) a ‘Sierra’ sideboard, Dune, New York, 2010. White stained oak veneer, two foldable doors, the front with a geometrical pattern in relief, the interior with two shelves, base in brushed steel, width 234, depth 64, height 77 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360
96. o4i Design Studio (Sweden) (Jon Lindström & Henrik Kjellberg) a set of eight chairs, ‘Dent Wood’, Blå Station, post 2014. Seats of laminated wood, upholstered in a blue wool fabric, legs in laminated wood, maker’s mark Blå Station, seat height 46 cm, total height 78 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
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97. Jun Furukawa (Japan) a unique prototype table, Atelier Yocto, Sweden/Japan, executed ca 2014–15. Linden wood, details in dark wood and brass, heigh 41 cm, extendable base and top 50–80 cm. Provenance: Stockholm Designweek, Älvsjö, 2014–15.
Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
98. David Ericsson (Sweden, 1978-) a wall cabinet, ‘Björkskåpet’, ed. 40/99, Källemo, Värnamo, post 2018. Frame in birch, interior of mirror glass and birch bark, glass doors with leather fittings, marked: Björkskåpet En stilla tid Stulen från skogen Näver Sågat Hyvlat Det är så det är David Ericsson 2018, 40/99, Källemo. Height 50 cm, width 60 cm, depth 22 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
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5. Robert Wilson, a ‘Strindberg chair, Dream Play’ for The Stockholm City Theater. 90. Olivier Gregoire, a bench, ‘Fold’, Acne Studios. 97. Jun Furukawa, a unique prototype table, Atelier Yocto.
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99. Eva Hild (Sweden, 1966-) ‘Interlace’, executed in her studio, Sparsör 2021. Handcrafted white kaolin-engobed stoneware, signed EVA HILD 2021, height 56 cm, approx. 53 x 33 cm. Provenance: GSA Gallery, Stockholm.
Estimate: SEK 300 000 – 400 000 / EUR 26 140 – 34 850 (d)
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100. Eva Hild (Sweden, 1966-) sculpture, executed in her own studio, Sparsör 1999. Handcrafted white kaolin-engobed stoneware, signed Eva Hild -99, dimensions approx. 40 x 35 cm, height 23 cm. Estimate: SEK 50 000 – 60 000 / EUR 4 360 – 5 230 (d)
101. Broberg & Ridderstråle (Sweden) a carpet, ‘Fleur Platinum’, for Asplund Collection, c. 240 x 160 cm. ‘Fleur’ is made of 75% wool and 25% tencel. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
102. Amara Por Dios (Sweden, 1988-) a unique painted sideboard/object, executed in her own studio, 2018. Painted and signed Amara Por Dios 2018, height 80 cm, width 250 cm, depth 40 cm. Provenance: Artscape, Ljusdal, 2018.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d) Amara Muñoz , better known by her artistic name Amara Por Dios, is a Swedish street artist primarily active in London and Stockholm. At a young age, she discovered graffiti culture and moved to London in 2012. She was recognized by The Guardian as one of Britain’s leading street artists and was invited by Tate Modern to paint live at the museum.
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103. Thomas Sandell (Sweden, 1964-) a screen/ room divider, custom made by Sandellsandberg for Riksbyggen, Stockholm 2021. Rosa lacquered MDF, comprising 8 sections, each 30 cm, height 200 cm. Provenance: This screen formed a part of an original interior design for a project by the contractor Riksbyggen, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
104. Thomas Sandell (Sweden, 1964-) a coffee table, custom-made by Sandellsandberg for Riksbyggen, Stockholm 2021. Yellow lacquered MDF, height 40 cm, 120 x 53 cm. Provenance: This table was a part of an original interior design created for a project by the contractor Riksbyggen in Stockholm 2021.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
105. Robert Indiana (USA, 1928–2018) a carpet ‘White on Black’, Chosen Love, hand-tufted in 1995, approximately 300 x 300 cm. Numbered 104/125. A cut decoration and a signature in relief. A signed label at the back: numbered 104/125. ‘Hand made in Israel. Materials: Skein dyed, hand carved and hand tufted, Archival New Zealand wool on stretched canvas with natural latex backing’. The design LOVE was created by Robert Indiana in the 1960’s. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360
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133. Ubald Klug, a two piece modular sofa, model ‘DS-1025, Terazza’, De Sede.
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106. Gio Ponti (Italy, 1891–1979) after, a ‘Tavolino’ table for Fontana Arte, Italy. The base in black lacquered metal, two table tops in glass, height 61 cm, the largest top with diameter 61 cm. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
107. Angelo Lelli (Italy, 1911–1979) two ‘Cavalletto’ floor lamps / easels, Arredoluce, Italy, 1950–60s. Chrome-plated metal, adjustable arms and frame/artwork holder, black lacquered metal shade, height approximately 207 cm. Literature: Clémence & Didier Krzentowski, The Complete Designers’ Lights II, Zurich, 2014, p. 46–47.
Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360
108. Alessandro Pianon (Italy, 1931–1984) ‘Pulcino’ a glass sculpture of a bird, Vistosi, Murano, Italy 1960s. Orange glass body, copper legs, height approx. 21 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490
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109. Alessandro Pianon (Italy, 1931–1984) ‘Pulcino’ a glass sculpture of a bird, Vistosi, Murano, Italy 1960s. Orange glass body, copper legs, height 23.5 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490
110. Venini (Italy, 1921-) two ‘Cinese’ pendant lamps, model no. 834, by Studio Venini Italy, 1960s. Shades in green and yellow glass with white glass to inside, diameter 42 cm, adjustable height ca 50–75 cm. Literature: Pictured in a Venini production catalogue, in the 1960s.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
111. Carlo Nason (Italy, 1935-) a pair of table lamps, Mazzega, Italy 1960–70s. Each lamp with 3 semi transparent glass shades, chrome plated metal base, height ca 56 cm, diameter of the base ca 40 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360
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112. Gaetano Pesce, a sculptural easy chair, ‘UP7, II Piede’, B&B Italia. 14. Jenny Nordberg, a unique floor mirror, ‘3 to 5 seconds’. 106. Gio Ponti, a ‘Tavolino’ table for Fontana Arte.
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112. Gaetano Pesce (Italy, 1939-) a sculptural easy chair, ‘UP7, II Piede’, B&B Italia, post 1969. Cold shaped polyurethane foam, coated with polyurethane elastomer, height 82 cm, length ca 165 cm, width 65 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
113. Giotto Stoppino (Italy, 1926–2011) attributed to, swivel chair, Italy 1960–70s. Chrome plated oversized tubular steel, on wheels, seat and back upholstered in leather, seat height 50 cm, height 78 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
114. Studio OPI (Franco Bettonica & Mario Melocchi) (Italy) a ‘Cubo bar’, for Cini & Nils, Milano, Italy 1970s. Base in dark stained wood, metal top, two drawers with a bar within, maker’s mark Cini & Nils Design OPI Milano Made in italy, height 71 cm, 64.5 cm x 64.5 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
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115. Ettore Sottsass (Italy, 1917–2007) a ‘Shiva’ pink glazed ceramic vase, B.D Barcelona, post 1973. Maker’s mark b.d E. SOTTSASS. Height 24.3 cm. Estimate: SEK 4 000 – 6 000 / EUR 350 – 530
116. Ettore Sottsass (Italy, 1917–2007) a ‘Tahiti’, table lamp, Memphis, Milan, post 1981. Base in ‘Bacterio’ patterned laminate, polychrome enamelled metal, adjustable shade with one light socket, marked with label: ‘Memphis Milano Ettore Sottsass 1981 Made in Italy’, height 66–71 cm. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
117. Ettore Sottsass (Italy, 1917–2007) a ‘Filicudi’, table, Zanotta, Italy ca 1992. Profiled legs and frame in beech, silk-screen printed melamine top, maker’s mark Zanotta, height 74 cm, 200 x 90 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620
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118. Franz West (Austria, 1947–2012) a ceiling lamp, ed. 143, Meta Memphis, Italy 1991. The base chain shaped, two light sockets, maker’s mark included Meta Memphis Franz West 1991–143-, height ca 160 cm, length ca 190 cm. Certificate included. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490
119. Fulvio Bianconi (Italy, 1915–1996) a ‘Fasce Sommerse’ glass vase, Venini, Italy 1995. Three-sided with underlay in red, yellow, green and blue glass, engraved signature Venini Fulvio Bianconi 1995/53 and label marked, height 31 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
120. Paolo Venini (Italy, 1895–1959) & Massimo Pistilli, ‘Palotta’ table lamp, Venini, Murano, Italy, 1960–70s. Smoke-coloured glass with a total of 16 small glass balls in different colours, diameter approx. 28 cm. Literature: Franco Deboni, ‘Venini Glass, Its history, artists and techniques’, Allemandi & C. 2007, p 254.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
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15. Erik Bratsberg, a ‘Lorian’, floor lamp. 278. Paul Fägerskiöld , ‘Liberated Colour Series’. 125. Mario Bellini, a ‘Camaleonda’ modular sofa, B&B Italia. 99. Eva Hild, ‘Interlace’. 47. Poul Kjaerholm, an occasional table, ‘PK 65’, Fritz Hansen. 3. TAF, a pair of stools, ‘Famna’ Firma Svenskt Tenn.
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121. Gio Ponti (Italy, 1891–1979) a 12 light chandelier, for Venini, Italy, 2014. Gold plated metal base with multi coloured glass arms, the green central bowl signed Gio Ponti per Venini 2014/12, height ca 83 cm excluding the chain, diameter ca 88 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360
122. Gio Ponti (Italy, 1891–1979) a 12 light chandelier, for Venini, Italy, 2014. Gold plated metal base with multi coloured glass arms, the green central bowl signed Gio Ponti per Venini 2014/12, height ca 83 cm excluding the chain, diameter ca 88 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360
123. Shiro Kuramata (Japan, 1934–1991) a cabinet/ shelf, ‘Revolving Cabinet’, Cappellini, Italy post 1970. Frame in metal, foldable shelves in red acrylic, maker’s mark Revolving Cabinet Cappellini Shiro Kuramata, height 190 cm, 26 x 37 cm. Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620
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124. Marc Newson (Australia, 1963-) a ‘Felt Chair’, Cappellini, Italy, post 1993. Shell of yellow fiberglass, metal leg. Seat height circa 38 cm, height 82 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
125. Mario Bellini (Italy, 1935-) a ‘Camaleonda’ modular sofa, B&B Italia, ca 2020. Comprising 5 moduls, brown leather with buttons, wooden feet, maker’s mark ‘B&B Italia’, two moduls with height ca 68 cm, seat height ca 40 cm, 4 moduls ca 96 x 96 cm, 1 modul ca 66 x 96 cm. Estimate: SEK 100 000 – 150 000 / EUR 8 710 – 13 070
126. Edward Barber & Jay Osgerby (Great Britain, 1969-) a ‘Tobi-ishi, Small table’, low table, B&B Italia, post 2014. Grey stained oak, maker’s mark Tobi-ishi B&B Italia, height ca 32 cm, the top ca 90 x 146 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
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127. Edward Barber & Jay Osgerby (Great Britain, 1969-) ‘Tobi-ishi, Rectangular table’, B&B Italia, post 2014. Base in MDF, surface covered in resin (Baydur) lacquered in glossy smoke blue, maker’s mark Tobi-ishi B&B Italia, 240 x 114 cm, height 72,5 cm. Estimate: SEK 35 000 – 40 000 / EUR 3 050 – 3 490
128. Philippe Nigro (France, 1975-) a set with sofa and easy chair, 6 pieces, ‘Confluences’, Ligne Roset, France, 2000s. Sofa with ottoman and an armchair with ottoman in 6 parts, upholstered in various shades of blue, marked Ligne Roset, France, 2000s. Sofa length approximately 225 cm, seat height 32 cm, height 82 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
129. Marcello Fantoni (Italy, 1915–2011) a ceiling lamp, Fantoni Studio, Firenze, 1960s. Perforated iron, shades in yellow glass, for four lights, diameter ca. 60 cm, height 60 cm, total height ca 100 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310
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130. Osvaldo Borsani (Italy, 1911–1985) a sculptural coat hanger, model ‘AT61’, Tecno, Italy, 1970s. Stem in black lacquered metal, partly covered in leather, adjustable coat hangers in walnut, adjustable height ca 240–320 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620
130A. Marco Zanuso, a pair of easy chairs, “Martingala”, Arflex, Italy 1950-60s. Upholstered in a green fabric, buttons and legs in brass, spherical foot endings in black lacquered wood, seat height ca 40 cm, height 85 cm. Estimate: SEK 40 000 - 60 000 / EUR 3500 – 5300
131. Luigi Benzoni (Italy, 1956-) a glass sculpture of a head, Berengo Studio, Italy 2006. Gold foiled face, black glass with red applied decor, signed Luigi Benzoni 2006, height 38 cm. Estimate: SEK 10 000 – 15 000 / EUR 880 – 1 310 (d)
132. Luigi Benzoni (Italy, 1956-) a glass sculpture of a head, Berengo Studio, Murano, Italy 1999. Decorated with a gold foiled face against black and clear glass, signed Luigi Benzoni MURANO 1999, height 38 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
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133. Ubald Klug (Switzerland, 1932–2018) a two piece modular sofa, model ‘DS-1025, Terazza’, De Sede, Switzerland, post 1973. Two separate moduls, upholstered in an off-white leather, maker’s mark DeSede DS, seat height 38 cm, height 70 cm, each module 156 x 91 cm. Estimate: SEK 120 000 – 140 000 / EUR 10 460 – 12 200
134. Philippe Malouin (Canada, 1982-) an easy chair, model ‘DS-707’, De Sede, post 2020. Black leather, maker’s mark DS, seat height 42 cm, height 72 cm, width 102 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620
135. Herzog & de Meuron (Jacques Herzog & Pierre de Meuron) (Switzerland, 1978-) a stool, ‘Hocker’, Vitra, after 2005. White-stained birch, maker’s mark Vitra Design Herzog & de Meuron, height 42 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
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136. Ron Arad (Israel, 1951-) a rare and signed Rover-Chair, One Off, London 1980’s. Black leather Rover-seat on a black lacquered tubular steel base, signed R Arad, height 80 cm. The Rover chair was designed by Ron Arad in 1981 and the standard version has been in production since. Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230
137. Serge Mouille (France, 1922–1988) a wall light, ‘Applique 2’, Edition Serge Mouille, France, 2016. Black lacquered metal, lacquered in white inside the shades, two sockets, maker’s mark ESM 10/16 1354, length ca 135 cm, height ca 75 cm. Provenance: Nordiska Galleriet, Stockholm.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
138. Jasper Morrison (Great Britain, 1959-) a ‘Low Ply Table’, Vitra, ca 1988. Birch plywood, maker’s mark, height 40 cm, 45 x 49 cm. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
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139. Toni Zuccheri (Italy, 1937–2008) a ‘Messico’, floor lamp, Venini, Italy 1970s. Base of nickel plated metal, shade in semi translucent and white glass, height ca 180 cm. Literature: Franco Deboni, ‘Venini Glass; Its history, artists and techniques’, Allemandi & C. 2007, p. 252.
Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
140. Jason Miller (USA, 1971-) a ‘Fiddlehead Cantilever’, ceiling lamp, Roll & Hill, Brooklyn, USA, post 2010. Blackened steel arm, yellow glass shade, maker’s mark Roll & Hill, length 252 cm, height from the celing ca 84 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
141. Saburo Inui (Japan, 1911–1991) a coffee table, ‘Zataku’, Tendo Mokko, Japan 1970s. Laminated Japanese maple, maker’s mark, height 33.5 cm, 121 x 75.5 cm. Estimate: SEK 8 000 – 10 000 / EUR 700 – 880
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142. Tokujin Yoshioka (Japan, 1967-) a ‘Prism Chair’, Glas Italia, after 2013. Executed in 19 mm thick, high-transparency tempered glass, thermowelded panels with beveled edges, seat height 40 cm, height 70 cm, width 57 cm, depth 57 cm. Exhibitions: The model was first shown in 2014 at Salone del Mobile, Milan.
Estimate: SEK 20 000 – 25 000 / EUR 1750 – 2180
143. Zaha Hadid (Iraq, 1950–2016) a set of 40 pieces stainless steel flatware, WMF, post 2007. 8 dinner knives 8 dinner forks 8 dinner spoons 8 dessert spoons/ tea spoons 8 dessert forks. This model was designed in 2007. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
144. Jaime Hayon (Spain, 1974-) a floor lamp, ‘Gweilo Qin Pe’, Parachilna, Spain, after 2016. The body is made of hand casted acrylic, integrated LED lighting, brass edge profile, marked Parachilna, height 150 cm. Original dustbag included. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050
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145. Jan Pauwels (Belgium, 1957-) a chandelier, modell ‘Q2 Hangin lamp’, Baxter, Italy, post 2009. Nickel plated metal strings, 108 light bulbs, diameter 120 cm, height 120 cm, total height ca 150–180 cm. Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230
146. Jan Bocan (Czech Republic, 1937–2010) a pair of easy chairs, Thonet, provenance the Czechoslovakian embassy in Stockholm 1972. Base in laminated walnut, seat and back upholstered in purple woolen original fabric, seat height ca 37 cm, height 75 cm. Provenance: The Czech Embassy Stockholm. Jan Bocan was a professor at the Technical University in the Czech Republic. At the age of thirty, he won the architectural competition for the new Czechoslovak Embassy in Stockholm. This was his first major assignment. The embassy was a total work of art with all interiors, textile artwork and furniture designed by Bocan. It was designed and built between 1968–70 and opened in 1972.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
147. Jan Bocan (Czech Republic, 1937–2010) a pair of easy chairs, Thonet, provenance the Czechoslovakian embassy in Stockholm 1972. Base in laminated walnut, seat and back upholstered in purple woolen original fabric, seat height ca 37 cm, height 75 cm. Provenance: The Czech Embassy Stockholm. Jan Bocan was a professor at the Technical University in the Czech Republic. At the age of thirty, he won the architectural competition for the new Czechoslovak Embassy in Stockholm. This was his first major assignment. The embassy was a total work of art with all interiors, textile artwork and furniture designed by Bocan. It was designed and built between 1968–70 and opened in 1972.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
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148. Attila Suta (Sweden, 1976-) a sideboard, executed in his own studio, Stockholm, 2022. Walnut legs, the front in black lacquered wood with relief decoration, four doors, brass fittings and details, branded ‘Attila Suta Kunglig Hovleverantör’, height 80 cm, width 178 cm, depth 40 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490
149. Attila Suta (Sweden, 1976-) a table, executed in his own studio, Stockholm 2017. Grey painted wood, round top, column with carved gilt decoration, maker’s mark, diameter 100 cm, height 73 cm. Provenance: Acquired straight from the artist.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
150. Attila Suta (Sweden, 1976-) a set of four dining chairs, executed in his own studio, Stockholm 2017. Grey lacquered wood, seat upholstered in black leather, maker’s marks, height 75 cm, seat height ca 47 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
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151. Mark Seliger (USA, 1959-) ‘Barack Obama, the White House, Washington DC, 2010’. Signed Mark Seliger and copyright stamp verso. Printed in 2013. Edition 9/25. Gelatin silver print, image 44 x 35 cm. Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230
152. Cooper & Gorfer (Austria, 1979-) ‘Marilina in a Tiled room’, 2015. Signed on label verso. Edition 1/6 + 2 AP. Archival pigment print, 112 x 88 cm including frame. Provenance: Christian Larsen, Stockholm. Exhibitions: Galleri Palm, Falsterbo, ‘Cooper & Gorfer’, 8 - 28 July 2017, another example exhibited. Literature: Cooper & Gorfer, ‘I Know Not These My Hands’, 2017, illustrated on full-page p. 69.
Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
153. Åke E:son Lindman (Sweden, 1953-) ‘Venedig #1’, 1994. From the series ‘Genius Loci’. Signed Åke E:son Lindman verso. Vintage. Gelatin silver print, image 47.5 x 37 cm. Literature: Julia Tedroff and Niclas Östlind, ‘Åke E:son Lindman: Pure Architecture’, 2010, illustrated on spread 20–21.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
154. Larry Fink (USA, 1941-) ‘George Plimpton, Jared Paul Stern and Cameron Richardson, Fashion Shoot, Elaine’s, New York City, January 1999’. Signed Larry Fink verso. Printed in 2006. Gelatin silver print, image 35.5 x 35.5 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
155. Terry O’Neill (Great Britain, 1938–2019) ‘Audrey Hepburn with Dove, St Tropez 1967’. Signed Terry O’Neill and numbered 17/50. Gelatin silver print, image 94.5 x 62 cm. Including frame 108 x 81.5 cm. Provenance: Tres Hombres Art, Halmstad. Literature: Terry O’Neill, ‘Terry O’Neill: The A-Z of Fame’, 2013, illustrated on full-page p. 145 and on the cover.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
156. Ken Kitano (Japan, 1968-) ‘Piling Portraits of 30 Geikos and Maikos Dancing the Special Kyo Dance in the Spring, Miyagawa Town, Kyoto’, 2003. From the series ‘Our Face’. Signed and numbered 7/25 verso. C-print, image 48 x 31.5 cm. Provenance: MEM Gallery, Tokyo.
Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310
157. Ken Kitano (Japan, 1968-) ‘Piling Portraits of 38 Singers of Kouta, or Popular Songs Originating in the Edo Period’, 2006. Signed and numbered 3/5 verso. Gelatin silver print, image 31 x 25 cm. Provenance: MEM Gallery, Tokyo.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
158. Ken Kitano (Japan, 1968-) ‘Piling Portraits of 23 Muslim women wearing burkas (Niva, Bagachara, Bangladesh)’, 2008. Signed and numbered 4/7 verso. Gelatin silver print, image 31 x 25 cm. Provenance: MEM Gallery, Tokyo.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
159. Maria Friberg (Sweden, 1966-) ‘Almost there #2’, 2000. Signed Maria Friberg and numbered AP 2/2 verso. Total edition of 6 + 2 AP. Printed in 2006. C-print mounted to glass 120 x 150 cm. Exhibitions: The series ‘Almost there’ has been exhibited extensively within Sweden and abroad, for examples at: Moderna museet, Stockholm and Charlottenborg, Copenhagen, ‘Organising Freedom’, 2000. Norrköpings konstmuseum, 2001. NIKOLAJ Copenhagen Contemporay Art Center, ‘Maskuliniteter’, 3 November – 30 December 2001. Kulturhuset, Stockholm, ‘Boys are Us’, 26 January - 13 April 2008. Fotografiska, Stockholm, ‘In Flux’, 14 September - 14 October 2012. Passagen konsthall, Linköping, ‘Between solitude and belonging’, September 2013. Bohusläns museum, Uddevalla, ‘Maria Friberg’, 1 February - 6 April 2014. Literature: Maria Friberg e.a, ‘Maria Friberg’, 2005, compare pl. 11. Maria Friberg e.a, ‘Maria Friberg’, 2015, compare p. 62 and 63.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
160. Ewa-Marie Rundquist (Sweden, 1958-) ‘Skogen’, 2020. Signed Ewa-Marie Rundquist on label verso. Edition 1/5. C-print, image 77 x 149 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
161. Jorma Puranen (Finland, 1951-) ‘Shadows, reflections and all that sort of things #28’, 2010. Signed Jorma Puranen on label verso. Edition 4/6. C-print mounted on diasec and acrylic glass 125 x 100 cm. Provenance: Galleri Flach, Stockholm. Exhibitions: Kulturhuset Stadsteatern, Stockholm, ‘Barockt’, 15 April - 19 October 2014.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
162. Johan Bergström (Sweden, 1978-) ‘Pagan Postcard (Satyricon Excerpt #02)’, 2011. Signed Johan Bergström and numbered 1/2 + 1 AP on label verso. Pigment print 100 x 137 cm. Provenance: Nordin Gallery, Stockholm. Exhibitions: Nordin Gallery, Stockholm, ‘Pagan Postcards’, 2012.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
163. Jenny Källman (Sweden, 1973-) ‘Two Addicts in the Sun’, 2004. Signed Jenny Källman and numbered 2/5 on label verso. Pigment print, image 52 x 72 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
164. Anders Krisár (Sweden, 1973-) ‘Untitled No. 4’, 2003–2004. Signed Krisár and numbered 1/3 verso. C-print mounted to acrylic glass 40 x 50 cm. Provenance: Stockholms Auktionsverk, Nutida, 4 May 2011. Private Collection, Stockholm. Exhibitions: Konstmässan Sollentuna, 2005. Kunstcenter Silkeborg, Denmark, 2005.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
165. Juan Pedro Fabra Guemberena (Sweden, 1971-) ‘True Colours’, 2002. Numbered 1/1 verso. C-print mounted to aluminum 180 x 180 cm. Provenance: Galleri Brändström & Stene, Stockholm. Bukowski auktioner, Contemporary Art & Design auktion 561, 2011. Private Collection, Stockholm. Exhibitions: Wyspa Institute, Gdansk, ‘Patriotism now’, 2006. Moderna Museet, Stockholm, ‘Modernautställningen’, 17 February - 7 May 2006. Karlin Hall, Prag, ‘Prague Biennale 2’, 26 May - 15 September 2005. Faulconer Gallery, Grinnel College USA, ‘Scandinavian Photography 1: Sweden’, 28 January - 18 March 2005. Moderna Museet, Stockholm, ‘Svenska Ghjärtan’, 12 June - 15 August 2004. Kulturhuset, Stockholm, ‘Konstnärer, knarkare och äventyrare’, 2002.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
166. Tova Mozard (Sweden, 1978-) ‘No Vacancy (II)’, 2006. Signed Tova Mozard and numbered 3/5 on label verso. C-print mounted to glass 70 x 88 cm. Provenance: ALP/Peter Bergman, Stockholm.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
167. Terry O’Neill (Great Britain, 1938–2019) ’David Bowie - Diamond Dogs, 1974’. Signed Terry O’Neill and numbered 37/50. Gelatin silver print, image 45 x 34 cm. Provenance: Tres Hombres Art, Halmstad. Literature: Terry O’Neill, ‘Terry O’Neill: The A-Z of Fame’, 2013, illustrated on full-page p. 51.
Estimate: SEK 30 000 – 35 000 / EUR 2 620 – 3 050 (d)
168. Albert Watson, (Great Britain, 1942–) ‘Mike Tyson, Catskills, New York’, 1986 Signed Albert Watson and numbered 4/25 on label verso. Pigment print, image 61 x 48 cm. Including frame 79 x 64 cm. Provenance: Tres Hombres Art, Halmstad. Literature: James Crump, ‘Albert Watson’, 2007, illustrated on full-page p. 41.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
169. Nick Brandt (Great Britain, 1966-) ‘Elephants and Egrets after storm, Amboseli, 2007’. Signed Nick Brandt and numbered 20/25. Pigment print, image 35,5 x 78 cm. Including frame 67 x 109 cm. Literature: Nick Brandt, ‘On this Earth. A Shadow Falls’, 2010, illustrated on spread p. 122–123.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
Terry O’Neill The British photographer Terry O’Neill portrayed countless movie stars and international celebrities. His career as a photographer began at the English newspaper Daily Sketch. After a few years, he moved on to work as a freelance photographer for magazines such as Vogue, Rolling Stone, Time Magazine and Vanity Fair. With his natural and spontaneous manner, Terry O’Neill broke the 1950s style and quickly became popular. During the 1960s and 70s, he was one of the world’s most published photographers. O’Neill has portrayed everything from rock stars and politicians to royalty. With their personal and human nature, O’Neill’s portraits are different from how the subjects are usually depicted.
interacted privately with actors, musicians and cultural celebrities. He was a close friend of Frank Sinatra and followed him through his career, both publicly and privately.). In 1992 he shot several formal portraits of Queen Elizabeth II, this specific portrait is a part of the National Portrait Gallery’s prominent collection, which includes a total of 80 of O’Neill’s images. Terry O’Neill was awarded the Royal Photographic Society Medal of Honor in 2011 and was made a Commander of the British Empire (CBE) for his photographic achievements in 2019, the same year he died.
170. Terry O’Neill (Great Britain, 1938–2019) ‘Queen Elizabeth II’, 1992.
O’Neill photographed the Rolling Stones and the Beatles back in 1963 when they were young musicians on the verge of a breakthrough. Later, he followed both Elton John and David Bowie backstage. In the late 1970s, he began photographing more and more in Hollywood. He worked and
Signed Terry O’Neill and numbered 1/50. C-print, 194,5 x 192,5 cm including frame. Provenance: Tres Hombres Art, Halmstad.
Estimate: SEK 150 000 – 200 000 / EUR 13 070 – 17 430 (d)
171. Thomas Ruff (Germany, 1958-) ‘Substrate 2 II’, 2003. Signed Thomas Ruff and numbered 33/45 on label verso. Total edition of 45 + 10 AP. Ditone print mounted to aluminum and framed, image 100 x 75 cm. Provenance: Edition Schellmann, München/ New York.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
172. Mario Testino (Peru, 1954-) ‘Untitled’, 2002. Edition 1/20. C-print, image 49 x 39 cm. Provenance: Charlotte Lund, Stockholm. Private Collection, Stockholm. Exhibitions: Charlotte Lund, Stockholm, ‘Mario Testino’, 23 February - 27 March 2002.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230
173. Charlie White (USA, 1972-) ‘Jonestown’, 2006. Signed Charlie White on label verso. Edition 3/5. C-print, image 100 x 104 cm including frame. Provenance: Brändström, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
174. Albert Watson (Great Britain, 1942-) ‘Hamid, Vendor of Minerals, Morocco’, 1998. Signed Albert Watson and numbered 6/25 on label verso. Archival pigment print, image 60 x 46.5 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
175. Torbjörn Calvero (Sweden, 1949–2016) ‘Mick Jagger’, 1976. Signed Calvero and numbered 1/10. Pigment print, image 61.5 x 89.5 cm. Literature: Torbjörn Calvero and Christer Olsson, ‘Från Abba till Zeppelin. Calveros 70-tal’, illustrated.
Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620 (d)
176. Terry O’Neill (Great Britain, 1938–2019) ‘Raquel Welch on the Cross, Los Angeles’, 1970. Signed Terry O’Neill and numbered 19/50. C-print mounted to aluminum and framed, image 91.5 x 92 cm. Provenance: The PhotoGallery, Halmstad. Literature: Terry O’Neill, ‘Terry O’Neill: The A-Z of Fame’, 2013, illustrated on full-page p. 333.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
177. Albert Watson (Great Britain, 1942-) ‘Adult Movies, Las Vegas’, 2001. Signed Albert Watson and numbered 7/10 on label verso. Archival pigment print, image 93.5 x 117.5 cm. Provenance: Acquired directly from the artist by the present owner. Literature: Albert Watson, ‘Strip Search’, 2010, illustrated.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
178. Sam Samore (USA, 1963-) ‘Untitled (Betty Ford)’, 1985. Gelatin silver print, image 180 x 91 cm. Including frame 214 x 124.5 cm. Provenance: Directly from the artist. Thomas Nordanstad. Private Collection, Sweden. Liliana Tovar, Stockholm/New York. Private Collection, Sweden.
Estimate: SEK 150 000 – 200 000 / EUR 13 070 – 17 430
179. Jorma Puranen (Finland, 1951-) ‘Afterimage’, 2012. Signed Jorma Puranen on label verso. Edition 2/6. Digital C-print, diasec mounted to glass 100 x 70 cm. Provenance: Galleri Flach, Stockholm. Exhibitions: Galleri Flach, Stockholm, 2015.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
180. Björn Keller (Sweden, 1946-) ‘Black Tulip 2’, 2022. Signed Keller and dated 2022 and numbered 1/3 + 2 AP verso. Archival pigment print, image 76 x 49 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
Denise Grünstein For more than four decades, Denise Grünstein (1950–2023) was one of our most internationally recognised photographers. Born in Helsinki, she was active in Sweden throughout her life. In the 1980s, Denise Grünstein became known for her portraits of cultural figures for magazines such as Elle and Månadsjournalen. She started styling her subjects to bring out other sides of the celebrities, as a kind of artistic dimension to the classic commissioned portrait. Her skill earned her so many commissions that she eventually grew tired of faces and decided to take a different photographic route. Her work often shows landscapes with women in different positions and situations, often hidden or facing away from the camera. It was the composition that came first for Grünstein, to test an idea and see if it held up aesthetically; photography became something necessary to immortalise the composition. Grünstein favoured natural light and is known for her soft, gentle images. In her work on the iconic 'Figure Out' series from 2009, she challenged herself. The series refers to an art-historically charged landscape, the sea and the beaches of Skagen, motifs that have historically appeared in the works of many of the most well-known Scandinavian male painters. In Figure Out's surrealist staging, as in many of her other projects, Grünstein collaborated with performance artist Marta Oldenburg.
Grünstein's other projects include ‘Malplacé’, ‘Jaisana’ and ‘Figure in Landscape’. In early 2014, she was given the opportunity to do an art project at the Nationalmuseum, as the museum building had been emptied of both art and office furniture for the renovation. The result was the image suite ‘1866’, which refers to the year the museum was inaugurated. The empty museum rooms served as a backdrop to her dreamy world of images, the motifs are timeless, it is impossible to say with certainty whether they belong to the past, present or future. On 14 October, a memorial exhibition entitled ‘Eftermäle’ (Legacy) opens at the Artipelag art gallery in an attempt to portray what she Grünstein meant to Swedish photography. The exhibition will look at her career from the 1980s to her last major artistic project ‘Nymphaeas’ in 2021. The artistry of Denise Grünstein will live on for a long time to come through the works in the collections of Nationalmuseum and Moderna Museet, Stockholm, KIASMA in Helsinki and the Museum of Contemporary Art in Oslo. 184. Denise Grünstein,‘Red Cardinal’, 2014.
191. Denise Grünstein, ‘WunderVidar’, 2013.
242. Denise Grünstein, ‘Figur i landskap #6’, 2001.
181. Björn Keller (Sweden, 1946-) ‘Black Tulip 1’, 2022. Signed Keller and dated 2022 and numbered 1/3 + 2 AP verso. Archival pigment print, image 75 x 49.5 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
182. Maria Friberg (Sweden, 1966-) ‘Way Ahead 1’, 2009. Signed Maria Friberg and numbered AP 2/2 verso. Total edition of 5 + 2 AP. C-print silicone mounted to glass 50 x 294 cm. Literature: Maria Friberg and Art and Theory Publishing, ‘Maria Friberg; Changed Positions’, 2015, illustrated on spread p. 50-51.
Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
183. Jacob Felländer (Sweden, 1974-) ‘Los Angeles, Hong Kong, Bombay’, 2011. Signed Jacob Felländer and dated 2011 and numbered 3/5 verso. C-print mounted to aluminum and framed, image 100 x 210.5 cm. Including frame 111 x 222 cm. Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
184. Denise Grünstein (Finland, 1950–2023) ‘Red Cardinal’, 2014. From the series ‘1866’. Signed Denise Grünstein and dated 2015 and numbered 1/3 + 1 AP verso. C-print mounted to aluminum and framed 122 x 152 including frame. Provenance: Galleri Charlotte Lund, Stockholm. Exhibitions: Nationalmuseum/Konstakademien, Stockholm, ‘Denise Grünstein - En face’, 19 February – 3 May 2015, another example exhibited. Strandverket konsthall, Marstrand, ‘In transit’, 6 June - 27 September 2015, another example exhibited.
Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
185. Pentti Sammallahti (Finland, 1950-) ‘Erdőbénye, Unkari, 1979’. Signed Pentti Sammallahti. Dated 29 June 2000 verso. Gelatin silver print, image 19.5 x 27.5 cm. Provenance: Acquired directly from the photographer, thence by descent to the present owner.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
186. Pentti Sammallahti (Finland, 1950-) ‘Siperiasta, 1997’. Signed Pentti Sammallahti. Dated 17 January 1999 verso. Gelatin silver print, image 17.7 x 35.5 cm. Provenance: Acquired directly from the photographer, thence by descent to the present owner.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
187. Pentti Sammallahti (Finland, 1950-) ‘Jyskyjärvi, Vienan Karjala, 1992’.
188. Pentti Sammallahti (Finland, 1950-) ‘Solovetsk, Vienan meri, 1992’.
Signed Pentti Sammallahti. Gelatin silver print, image 14 x 37 cm.
Signed Pentti Sammallahti. Dated 29 June 2000 verso. Gelatin silver print, image 16.7 x 35 cm.
Provenance: Acquired directly from the photographer, thence by descent to the present owner.
Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050 (d)
Provenance: Acquired directly from the photographer, thence by descent to the present owner.
Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050 (d)
189. Pentti Sammallahti (Finland, 1950-) ‘Sandö, Dragsfjärd, 1975’. Signed Pentti Sammallahti. Dated 29 June 2000 verso. Gelatin silver print, image 21 x 28 cm. Provenance: Acquired directly from the photographer, thence by descent to the present owner.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
190. Gunnar Smoliansky (Sweden, 1933–2019) ‘Södermannagatan, 1959’. Signed Gunnar Smoliansky. Printed later. Gelatin silver print, image 140 x 94 cm. Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky -One Picture at a Time’, 2008, illustrated on full-page p. 70.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
191. Denise Grünstein (Finland, 1950–2023) ‘WunderVidar’, 2013. Signed Denise Grünstein and numbered 1/5 verso. Total edition of 5 + 2 AP. C-print mounted to aluminum and framed, 102.5 x 127.5 cm including frame. Provenance: Direkt från fotografen till nuvarande ägare. Exhibitions: Mjellby konstmuseum, Halmstad, ‘Wunder’, 28 september 2013–5 januari 2014, another example exhibited. Galleri Charlotte Lund, Stockholm, ‘Wunder/Winter’, 22 October - 11 November 2013. Artipelag, Stockholm, ‘Det synliga. Samtida svensk fotografi’, 7 February 2014 – 11 May 2014, another example exhibited.
Estimate: SEK 50 000 – 70 000 / EUR 4 360 – 6 100 (d)
192. Louise Hindsgavl (Denmark, 1973-) ‘Ouverture #1’, 2016. Signed Louise Hindsgavl and numbered 2/5 and dated 2016. Pigment print, image 90 x 120 cm. Including frame 94 x 124 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
193. Terry O’Neill (Great Britain, 1938–2019) ‘Faye Dunaway, Hollywood, 1977’. Signed by Terry O’Neill and Faye Dunaway and numbered A/P. Total edition of 50 + 10 AP. Certificate issued by Gallery Two Seventy accompanies the work. C-print, image 68 x 68.5 cm. Provenance: Gallery Two Seventy, Westwood, New Jersey. Literature: Terry O’Neill, ‘Terry O’Neill: The A-Z of Fame’, 2013, compare image p. 104-105
Estimate: SEK 200 000 – 250 000 / EUR 17 430 – 21 780 (d)
Mike & Doug Starn (Starn Twins), ‘the no-mind not-thinks no-thinks lasven’ Since the 1980s, American twin brothers Mike and Doug Starn have been exploring the photographic medium and testing its limits. Their conceptual works often take a photographic image as their starting point, then transfer it to unusual materials such as glass, plastic film, tape, tin or handmade paper. The motifs are sometimes designed as collages and are built up in several layers that are assembled with, for example, pins. ‘We try to show that photography is not an image, it is a three-dimensional object,’ they explained. ‘It can have the same kind of growth and limitations or non-limitations as the other arts.’ The innovative exploration of materials has, in a way, become the hallmark of the Starn Twins, whether in sculpture, painting, video or photography. The concept of light, as an idea and expression, is a common thread in the Starn brothers’ work. It can be about how moths are drawn to the lamp, how light filters through the branches of trees, or about religious enlightenment. When the Starn Twins showed the current work at Wetterling Gallery in 2013, the gallery described the experimental tree motifs as follows: ‘In their new pieces that are printed on transparent Kozo paper, black intersecting branches and overlapping paper stripes create an abstract structure in which the viewer gets lost. Cross-references to several subjects open up immediately; to mind come calligraphy, other organic structures in nature, structures in both micro- and macrocosm, in the human mind and thinking,as well as in social contexts.’ The Starn Twins’ artistic collaboration started at the age of 13, and at 26 they broke through at the Whitney Biennial in New York. Since then they have been recognised for their exhibitions at the Stedelijk Museum in Amsterdam, the Metropolitan Museum of Art in New York, the Venice Biennale in 2011 and the Museum of Fine Arts in Houston. Since the early 2000s, the Starn Twins have regularly exhibited at the Wetterling Gallery in Stockholm. Today their work can be found at The Museum of Modern Art in New York, San Francisco Museum of Modern Art, National Gallery of Victoria in Melbourne and Moderna Museet in Stockholm.
194. Mike & Doug Starn (Starn Twins) (USA, 1961-) ‘The no-mind not-thinks no-things lasven’, 2012–2013. Signed on label verso. Unique. Archival inkjet print on Kozo paper and varnish, 148 x 112 cm. Provenance: Wetterling Gallery, Stockholm. Exhibitions: Wetterling Gallery, Stockholm, ‘No Mind Not Thinks No Things Juju’, 3–31 maj 2013.
Estimate: SEK 150 000 – 200 000 / EUR 13 070 – 17 430
195. Lorenzo Agius (Malta, 1962-) ‘Jack Nicholson’, 2007. Signed Lorenzo Agius and numbered 8/25. Archival pigment print, 100 x 70 cm. Provenance: The PhotoGallery, Halmstad.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
196. Ellen von Unwerth (Germany, 1954-) ‘Supernatural lady’, 1991. Signed Ellen von Unwerth and dated Paris 2021. Edition 1/3. Gelatin silver print 120 x 180 cm. Estimate: SEK 125 000 – 150 000 / EUR 10 890 – 13 070 (d)
197. Hiroshi Sugimoto (Japan, 1948-) ‘Mediterranean Sea Cassis 1989’. Titled and marked 351 on the mount. Offset lithograph 23.9 x 30.8 cm. Provenance: Bukowski Auktioner, Contemporary Art & Design sale 561, May 2011.
Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310
198. Terry O’Neill (Great Britain, 1938–2019) ‘Frank Sinatra, Miami Beach, 1968’. Signed Terry O’Neill and numbered 29/50. Gelatin silver print, image 92 x 138 cm. Including frame 108 x 158 cm.. Provenance: Tres Hombres Art, Halmstad Literature: Terry O’Neill, “Terry O’Neill: The A-Z of Fame”, 2013, illustrated on spread p. 284–285.
Estimate: SEK 150 000 – 200 000 / EUR 13 070 – 17 430 (d)
199. Dawid (Björn Dawidsson) (Sweden, 1949-) ‘9632’, 1990. Signed Dawid verso. Edition 2/2. Ektachrome print, 87 x 76 cm including the artist’s frame. Provenance: Galleri Nordanstad - Skarstedt, Stockholm.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
200. Hasse Persson (Sweden, 1942-) ‘Say Cheese, Larry!’, 1981. Signed by Hasse Persson. C-print 50 x 160 cm. Literature: The American art magazine Cabinet, 2008, illustrated on the cover.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
201. Cooper & Gorfer (Austria, 1979-) ‘Niza and the Animals’, 2015. Signed and numbered 5/6 on label verso. Edition of 6 + 2 AP. Archival pigment print, 108 x 81 cm inklusive ram. Provenance: Galleri Palm, Falsterbo. Exhibitions: Galleri Palm, Falsterbo, ‘Cooper & Gorfer’, 8 - 28 July 2017.
Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
202. Helene Schmitz (Sweden, 1960-) ‘The Cotton Mill’, 2013. Signed Helene Schmitz and numbered 1/3 on label verso. Printed in 2013. C-print mounted to aluminum and framed, image 100 x 120 cm. Exhibitions: Fotografiska, Stockholm, ‘Transitions’, 2 September - 13 November 2016, another example exhibited. Dunkers Kulturhus, Helsingborg, ‘Borderlands’, 7 February - 17 May 2015, another example exhibited. Literature: Helene Schmitz and Andri Snær Magnason e.a, ‘Helene Schmitz Borderlands’, Waldemarsudde 2018, illustrated on the cover.
Estimate: SEK 50 000 – 70 000 / EUR 4 360 – 6 100 (d)
203. Bert Stern (USA, 1929–2013) ‘Marilyn Monroe in Dior (Vogue)’, 1962. Signed Bert Stern and numbered AP 44/60. Also with copyright stamp and edition verso. Pigment print, image 57 x 50.5 cm. Sheet 81 x 66 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360
Cecilia Edefalk, ‘At the Moment Untitled’ Cecilia Edefalk is one of Sweden's most important artists. Her first retrospective exhibition was shown at Moderna Museet already in 1999, since then she has exhibited at several museums and galleries abroad and in Sweden. Her most recent retrospective exhibition ‘Hemkomsten’ was shown at Norrköpings Konstmuseum in spring 2020. Prince Eugens Waldemarsudde also had an extensive retrospective October 2016 - February 2017. She is represented internationally by Carlier | Gebauer in Berlin and Gladstone Gallery in New York. After her first solo exhibition at Galleri Wallner in Malmö in 1988, her public breakthrough came in 1990 with an exhibition at Galleri Sten Eriksson in Stockholm, and since then Edefalk's artistic successes have followed each other. Cecilia Edefalk's work raises questions about time and memory, the spiritual, transience and rebirth. Her oeuvre has developed slowly and dynamically. And yet, the world of motifs that appear on her canvases seems to have a mysterious and coded connection. Helan and Halvan, Dick Bengtsson paraphrases, newspaper pictures and Aphrodite - paintings, installations or photography. There is no distinction between high and low in Cecilia Edefalk's work. Whether it's the most famous drummer in film history or Hilma af Klint, Edefalk's work is based on models and existing images. The method is often repetition or a kind of multiplication, an examination of the conditions of creation in relation to an extensive cultural heritage and contemporary image flow. Helan and Halvan, this film-historical radar pair. In our collective memory, they will always chase each other, argue and fall over. Edefalk has executed several motifs on this theme. Most of them are oil paintings on canvas, but here she has taken the moment of repetition one step further and, with the help of the camera, transferred the image to a gelatin silver photograph.
204. Cecilia Edefalk (Sweden, 1954-) ‘At the Moment Untitled’. Signed Cecilia Edefalk and dated 2005 on the back of the frame. Edition 1/1. Gelatin silver print 102 x 130 cm. Provenance: Brändström & Stene, Stockholm.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
205. Mona Hatoum (Lebanon, 1952-) ‘Untitled (grater)’, 1999. Signed Mona Hatoum and numbered 11/15 verso. Gelatin silver print, image 37 x 47 cm. Provenance: Jay Jopling, London. Literature: Tate Gallery, ‘Mona Hatoum: The Entire World as a Foreign Land’, 2000, compare image p. 2–3. Christine Van Assche, ‘Mona Hatoum’, 2015, illustrated p. 159 and 178.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
206. Bruce Weber (USA, 1946-) ‘NYC Studio (from The Indomitable Spirit Portfolio)’, 1986–1989. Signed Bruce Weber and numbered 4/5 verso. Published by Photographers + Friends United Against AIDS, New York. Gelatin silver print, 59 x 46 cm. Provenance: Barry Singer Gallery, Petaluma, USA. Privat samling, Sweden.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490
207. Laurie Simmons (USA, 1949-) ‘Walking House’, 1996. Signed Laurie Simmons and numbered TP 3/10. Photogravure, image 72.5 x 42.5 cm. Including frame 82.5 x 57.5 cm. Provenance: Fred Dorfman Gallery, New York. Liliana Tovar, Stockholm/New York. Private Collection, Sweden.
Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620
208. Brooks Kraft (USA) ’Three Presidents’, 2012. Signed Brooks Kraft and numbered 7/15. C-print, image 64 x 92 cm. Provenance: Tres Hombres Art, Halmstad. Literature: Time Magazine, 23 April 2012, illustrated on the cover.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230
209–210. Withdrawn 211. David LaChapelle (USA, 1963-) ‘Artists & Prostitutes’, 2006. Signed David LaChapelle and numbered 0545 on the preface. From an edition of 2500. Published by Taschen Verlag, 2006. 688 pages of colour illustrations reproduced in Pan4C. In original portfolio, 55 x 40 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
Dan Holdsworth, ‘Blackout #17’ For over 30 years, British artist Dan Holdsworth has blended art, science and nature to create works that challenge our perceptions of, and reinvent, the concept of landscape. He studied photography at the London College of Printing (1998) and has exhibited internationally at the Barbican Art Gallery, London, Tate Britain, London, and the Centre Pompidou, Paris. His work is included in the collections of the Tate Collection, the Saatchi Collection, the Denver Art Museum Collection, and the Victoria and Albert Museum, London. Nordin Gallery, Stockholm, exhibited Holdsworth's ‘Blackout’ series in 2011. The exhibition was described as follows: ‘This is Dan Holdsworth's first exhibition in Scandinavia. Holdsworth is known for his landscape photographs where nature, architecture and technology merge with light and space to create powerful visions of the contemporary world. In Blackout, Holdsworth presents photographs taken in Iceland, a volcanic world where day is night and ice is sooty pitch. Holdsworth's negative images are literally double inversions; their black and white clarity denies all natural logic. The effect is to make the sublime modular and spectacularly tangible: glaciers are transformed with sculpted solidity, as if they could be contained in the palm of a hand, slopes bulge with the scratchy transparency of glass, containing prisms of spectral hues, and expanses of atrementaceous sky bear down, all consuming voids. The actualisation of Holdsworth's images is no less deceptive; these photographs are more reminiscent of handmade media. Their strange aesthetic, like diagrammatic etching, combines ideas of New World exploration and futurism, diving into almost pure abstraction, as illusorily textured and gestural as painting, where the terrain is perceived as a tangible geo-psyche surface, a synaesthetic confusion between sight and touch.’
212. Dan Holdsworth (Great Britain, 1974-) ‘Blackout #17’, 2010. Signed Dan Holdsworth and numbered 1/3 verso. C-print, 184 x 232.5 cm including frame. Provenance: Nordin Gallery, Stockholm. Exhibitions: Nordin Gallery, Stockholm, ‘Blackout’, 17 March - 8 May 2011.
Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
213. 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 119 x 90 cm. Provenance: Guy Hepner, New York. Private Collection, Sweden. Literature: Terry O’Neill, ‘Terry O’Neill: The A-Z of Fame’, 2013, illustrated on the cover and on full-page p. 21.
Estimate: SEK 350 000 – 400 000 / EUR 30 490 – 34 850 (d)
214. Åke E:son Lindman (Sweden, 1953-) ‘Flatiron Building, NYC’, 1997. From the series ‘Pure Architecture’. Signed Åke E:son Lindman and dated 2016 and numbered 1/5 on label verso. Archival pigment print, image 240 x 118 cm. Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
215. 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.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
216. 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 60 000 – 80 000 / EUR 5 230 – 6 970
217. Teitur Ardal (Sweden, 1985-) ‘Mt Fuji’, 2008. Signed Teitur Ardal and numbered 1/3 verso. Total edition 3 + 1 AP. Gelatin silver print, image 137 x 139.5 cm. Including frame 160 x 170 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
218. Helmut Newton (USA, 1920–2004) ‘SUMO’, 1999. Signed Helmut Newton and numbered 02887/10.000. 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. The book and the metal table has never been unwrapped, mint condition. Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710
219. Sante D’Orazio (USA, 1956-) ‘On Green Grass #1’, 2000. Edition 4/6. C-print, image 80 x 91 cm. Provenance: Stellan Holm Gallery, New York.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970
220. Stéphane Couturier (France, 1957-) ‘Usine Toyota no 8 (Valenciennes)’, 2005. From the series ‘Melting point’. Signed Stéphane Couturier verso. Edition 1/5. C-print 180 x 270 cm. Provenance: Nordin Gallery, Stockholm. Exhibitions: Nordin Gallery, Stockholm, ‘Melting Point’, 8 March - 14 April 2012.
Estimate: SEK 100 000 – 150 000 / EUR 8 710 – 13 070 (d)
221. Michael Joseph (South Africa, 1941-) ‘The Beggars Banquet, London’, 1968. Signed Michael Joseph and numbered 18/20. Certificate from The PhotoGallery accompanies the work. C-print, image 78 x 99 cm. Provenance: The PhotoGallery, Halmstad.
Estimate: SEK 50 000 – 60 000 / EUR 4 360 – 5 230
222. Jesper Waldersten (Sweden, 1969-) ‘Grounded’, 2018. Signed Waldersten and dated 2019 and numbered 1/3 + 2 AP verso. Pigment print mounted to aluminum and framed, 135 x 92 cm including frame. Provenance: Acquired directly from the artist by the present owner. Exhibitions: Fotografiska, Stockholm, ‘Jesper Waldersten All Over’, 8 March – 9 June 2019, another example exhibited. Lidköpings Konsthall, ‘Waldersten All Over’, 11 September - 30 October 2021, another example exhibited.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
223. Hans Gedda (Sweden, 1942-) ‘Ulf Lundell’, 1977. Signed Hans Gedda. Printed in 2008. Edition 1/10 + 2 AP. Gelatin silver print, image 42 x 42 cm. Provenance: Åmells konsthandel, Stockholm. Stockholms Auktionsverk, Nutida, April 2019. Private Collection, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
224. Hans Gedda (Sweden, 1942-) ‘Cornelis Vreeswijk’, 1977. Signed Hans Gedda. Edition 12/25. Gelatin silver print, image 39.5 x 39.5 cm. Provenance: Uppsala Auktionskammare, Internationell Kvalitetsauktion, December 2017. Private Collection, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
225. Hans Gedda (Sweden, 1942-) ‘Hasse & Tage’, 1980. Signed Hans Gedda. Edition 3/25. Printed in 2017. Gelatin silver print, image 46 x 34.5 cm. Literature: Hans Gedda, Magnus Olausson and Eva-Lena Karlsson,’Det tredje ögat’, Nationalmuseum 2013, illustrated on p. 72.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
226. Nathalia Edenmont (Sweden, 1970-) ‘Red Square’, 2005. Signed N. Edenmont and numbered 3/6 verso. C-print mounted to aluminum and glass 105 x 103 cm. Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
227. Maria Miesenberger (Sweden, 1965-) ‘Utan titel/Ohne Titel (Över/Über)’, 1999–2009. Signed Maria Miesenberger and numbered 8/10 verso. Gelatin silver print, 80 x 56.5 cm including the artist’s frame. Provenance: Lars Bohman Gallery, Stockholm. Literature: Maria Miesenberger, ‘Sverige/Schweden’, 2011, illustrated on full-page No. 009.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
228. Anders Krisár (Sweden, 1973-) ‘Untitled #1’, 2005. From the series ‘Chords’. Signed Krisár and numbered 2/3 verso. Printed in 2014. Analogue C-print mounted to aluminum 112 x 140 cm. Provenance: Directly from the artist. Bukowski Auktioner, Contemporary Art & Design, November 2021. Literature: Anders Krisar, ‘Anders Krisár’, 2011, illustrated on fullpage p. 161.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
229. Björn Keller (Sweden, 1946-) From the series ‘Fåglar’, 2012. Signed B Keller and numbered 2/5. Pigment print, image 138 x 91.5 cm. Exhibitions: Double Elvis Gallery, Stockholm, ‘Björn Keller. Fåglar’, 8 September – 23 September 2012, another example exhibited.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
230. Jean Hermanson (Sweden, 1938-) ‘Stämpelklocka, Motala Verkstad’, 1969. Signed Jean Hermanson and numbered 1/4 verso. Gelatin silver print, image 24 x 16 cm. Sheet 30.5 x 24 cm. Literature: Folke Isaksson and Jean Hermanson, ‘Nere på verkstadsgolvet’, 1971, illustrated. Jean Hermanson e.a, ‘Fotografier’, 2005, illustrated on full-page p. 53. Nils Petter Löfstedt, ‘Himlens Mörkrum’, 2017, illustrated p. 79.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
231. Jean Hermanson (Sweden, 1938-) ‘Gjutare, Huskvarna vapenfabrik’, 1970. Signed Jean Hermanson verso. Printed in the 1970s. Gelatin silver print, image 25.5 x 18 cm. Sheet 30 x 24 cm. Literature: Jean Hermanson and Ingrid Nilsson (ed.), ‘Jean Hermanson Fotografier’, 2005, illustrated on full-page p. 119.
Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050 (d)
232. Eva Klasson (Sweden, 1947-) ‘Paris 1975’ from ‘Le Troisième Angle’. Signed Eva Klasson verso. Printed in 2008. Gelatin silver print, image 39 x 56.5 cm. Provenance: Bukowski Auktioner, Contemporary 564, November 2011. Private Collection, Stockholm.
Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310 (d)
233. Emil Heilborn (Sweden, 1900–2003) ‘Gatubild, Stockholm’. Signed Emil Heilborn. Also with stamp ‘Foto Emil Heilborn’ verso and on backboard. Vintage. Gelatin silver print laid down on cardboard, image 15 x 22,5 cm. Provenance: Gunnar Heilborn Estate. Bukowski Auktioner, Contemporary 564, november 2011. Private Collection, Stockholm. Literature: Petter Österlund, ‘Emil Heilborn’, 2003, illustrated on full-page p. 52.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
234. 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.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
235. Lars Tunbjörk (Sweden, 1956–2015) ‘Delsbo’, 1990. Signed Lars Tunbjörk. Also with dedication dated 1995 verso. C-print, image 36 x 45.2 cm. Sheet 40.5 x 50.5 cm. Provenance: Directly from the photographer to the present owner. Literature: Lars Tunbjörk, ‘Landet utom sig’, 1993, illustrated on full-page pl. 77
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
236. Lovisa Ringborg (Sweden, 1979-) ‘Girl with Baseball Bat’, 2004. Signed Lovisa Ringborg and numbered 3/5 verso. C-print mounted to aluminum and framed, 77 x 100 cm including frame. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
237. Denise Grünstein (Finland, 1950–2023) ‘Bordet’, 2007. Triptych. Signed Denise Grünstein and dated 2007 and numbered 2/7 verso. Pigment print, image 31.5 x 42 cm per part. Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
238. JH Engström (Sweden, 1969-) ‘La Résidence Negative’, 2003. Signed JH Engström on label verso. Printed in 2010. Edition 1/5 + 2 AP. C-Print, image 105 x 131 cm. Including frame 107 x 134 cm. Provenance: Gun Gallery, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
239. Lennart Durehed (Sweden, 1950-) ‘Kontrabas’, 1997. Signed Lennart Durehed and numbered 2/25 verso. Gelatin silver print, image 36 x 27 cm. Sheet 40.5 x 30.2 cm. Provenance: Xpose Gallery, Stockholm.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
240. Charlotte Gyllenhammar (Sweden, 1963-) ‘Fall #6’, 1999–2006. Edition 5/5 + 2 AP. Cibachrome mounted to glass 120 × 120 cm. Provenance: Kenneth A. Friedman & Co, Calabasas, California. Literature: Sophie Allgårdh and Estelle af Malmborg, ‘Svensk konst nu. 85 konstnärer födda efter 1960’, 2004, compare image.
Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
241. Jacob Felländer (Sweden, 1974-) ‘Hong Kong 48 (Cityscape #4)’, 2011. Signed certificate accompanies the work. Edition 1 AP. Total edition of 5 + 2 AP. C-print mounted to glass 75 x 179 cm. Including frame 82 x 186 cm. Provenance: Fotografiska, Stockholm. Exhibitions: Fotografiska, Stockholm, ‘I want to live close to you’, 6 May - 28 August 2011, another example exhibited. MOCA Miami, Art Basel 2017, 6 December 2017–11 February 2018, another example exhibited.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
242. Denise Grünstein (Finland, 1950–2023) ‘Figur i landskap #6’, 2001. Signed Denise Grünstein and dated 2001. Edition 2/3 + 1 AP. C-print mounted to a convex aluminum board 103 x 250 cm. Depth 6–25 cm. Provenance: Galleri Mårtenson & Persson, Båstad. Literature: Leif Wigh (ed.), ‘Denise Grünstein - Figur i landskap’, 2001, exhibition catalogue, illustrated. Denise Grünstein, ‘Figure Out’, 2010, illustrated on spread p. 20–21.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
243. Maria Friberg (Sweden, 1966-) ‘Duration 1’, 2012. Signed Maria Friberg and numbered 4/5 verso. C-print, oak, laminate, 110 x 80 cm. Provenance: Galleri Charlotte Lund, Stockholm. Literature: Maria Friberg e.a, ‘Changed Positions’, 2015, illustrated on full-page p. 27.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
244. 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. Karin Sidén och Catrin Lundeberg (ed.), ‘Charlotte Gyllenhammar; Croiser/Korsa’, exhibition catalogue Prins Eugens Waldemarsudde, 2022, illustrated p. 35.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
245. Jacob Felländer (Sweden, 1974-) ‘Building to Implode’, 2013. From the series ‘Pentimento’. Signed Jacob Felländer verso. Unique. Charcoal, pastel and paint on Archival Pigment Print, sheet 120 x 120 cm. Provenance: Hamiltons Gallery, London. Exhibitions: Camera Work, Berlin. Hamiltons Gallery, London, ‘Pentimento’, 21 September - 1 November 2013.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
246. Lennart Nilsson (Sweden, 1922–2017) ‘Svensknorska gränsen, 1945’. Signed Lennart Nilsson. Edition 1/1. Printed in 2013. Selenium toned gelatin silver print, image 54 x 51 cm. Provenance: Acquired directly from the photographer by the present owner.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
247. Lennart Nilsson (Sweden, 1922–2017) ‘Ekvatorstaden, Kongo, 1948’. Signed Lennart Nilsson. Edition 7/18. Printed in 2013. Selenium toned gelatin silver print , image 50 x 45 cm. Provenance: Directly from the photographer to the present owner.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
248. Gunnar Smoliansky (Sweden, 1933–2019) ‘Slussen’, 1952. Signed Gunnar Smoliansky. Numbered 2/5 verso. Printed later. Pigment print, image 89 x 89 cm. Including frame 116 x 115 cm. Literature: Gunnar Smoliansky, Hans Henrik Brummer and Carl Johan Malmberg, ‘Gunnar Smolianskys fotografier från Slussen i Stockholm 1952’, 2002, illustrated.
Estimate: SEK 30 000 – 35 000 / EUR 2 620 – 3 050 (d)
249. Jorma Puranen (Finland, 1951-) ‘Landscapes in Full Color #9’, 2012. Signed Jorma Puranen on label verso. Edition 3/6. Digital C-print, diasec mounted to glass and framed, 56 x 75 cm including frame. Provenance: Galleri Flach, Stockholm. Exhibitions: Galleri Flach, Stockholm, 2015.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
250. Julia Hetta (Sweden, 1972-) ‘Untitled’, 2015. Signed Julia Hetta and dated 2016 on label verso. Edition 1/7 + 2 AP. Archival pigment print, image 76 x 61 cm. Provenance: Grundemark Nilsson Gallery, Stockholm.
Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620 (d)
251. Dawid (Björn Dawidsson) (Sweden, 1949-) ‘MOR No. 1’, 2013. Signed Dawid and numbered 1/5 verso. Pigment print, 111 x 133 cm including the artist’s frame. Exhibitions: Bukowski Auktioner, primary exhibition, ‘Dawid’, 2016. Abecita Konstmuseum, Borås, ‘Dawid.nu’, 20 February – 4 May 2014. Åmells konsthandel, Stockholm, ‘Dawid’, 12 December 2012 - 17 January 2013.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970
252. Ann Eringstam (Sweden, 1977-) ‘In search of Wonderland #9’, 2011. Signed Ann Eringstam and numbered 2/5 on label verso. Catalogue accompanies the work. Lambda print mounted to glass 100 x 150 cm. Literature: Ann Eringstam, ‘In Search of Wonderland & Out of the Fog’, 2016, illustrated on full-page.
Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360 (d)
253. Lennart Olson (Sweden, 1925–2010) ‘Älvängen, 1978’. Signed Lennart Olson and numbered 5 and dated 1984. Also with stamp ‘Copyright Lennart Olson / TIO’ on the mount. Gum bichromat print, image 22.5 x 30 cm. Sheet 27.5 x 35 cm. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050 (d)
254. Torbjörn Calvero (Sweden, 1949–2016) ‘Patti Smith’, 1977. Signed Calvero and numbered 6/7. C-print, image 36 x 24 cm. Provenance: Acquired directly from the photographer by the present owner.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
255. William Klein (USA, 1928-) ‘Mister Freedom koffert - full set edition’, 2020. Box with 36 prints, all signed by William Klein and stamped by the Polka Factory. Edition 4/5. Published in 2020 by Polka Factory. Box 33 x 23.5 cm. Pigment print, sheet 33 x 23.5 cm per print. Estimate: SEK 50 000 – 60 000 / EUR 4 360 – 5 230
256. Malick Sidibé (Mali, 1936–2016) ‘Les Deux Boxers’, 1966. Printed by Studio Malick Sidibé and Mody Sidibé. Certificate from Galerie TransAfrik Art accompanies the work. Gelatin silver print, image 16 x 16 cm. Sheet 24 x 18.5 cm. Provenance: Galerie TransAfrik Art, Siret.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
257. Malick Sidibé (Mali, 1936–2016) ‘À la Plage’, 1974. Signed Malick Sidibé and dated 2011. Gelatin silver print, image 29.5 x 45 cm. Sheet 40 x 50 cm. Provenance: Galerie Art Z, Paris.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
258. Malick Sidibé (Mali, 1936–2016) ‘Avec ma Minie Robe’, 1971. Printed by Studio Malick Sidibé and Mody Sidibé. Certificate from Galerie TransAfrik Art accompanies the work. Gelatin silver print, image 19 x 19 cm. Sheet 29 x 23 cm. Provenance: Galerie TransAfrik Art, Siret.
Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310 (d)
259. Terry O’Neill (Great Britain, 1938–2019) . Signed Terry O’Neill and numbered 2/50. Gelatin silver print, image 111 x 111 cm. Provenance: Tres Hombres Art, Halmstad. Literature: Terry O’Neill, ‘Terry O’Neill: The A-Z of Fame’, 2013, illustrated on p. 333.
260. Alfred Eisenstaedt (Germany, 1898–1995) ‘Hugo Gernsback’, 1960’s. Signed Eisenstaedt. Gelatin silver print, image 30.3 x 23 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
261. Leif-Erik Nygårds (Sweden, 1939–2022) ‘Marilyn Monroe photographed in Los Angeles at Bel Air Hotel, June 27th 1962’.
262. Denise Grünstein (Finland, 1950–2023) ‘Malplacé, 1a’, 2005.
Signed Leif-Erik Nygårds and numbered 7/100 verso. Cibachrome, image 49 x 74 cm.
Signed Denise Grünstein and dated 2005 verso. Edition AP 1/2. Total edition of 5 + 2 AP. Gelatin silver print silicone mounted to glass 100 x 125 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
Provenance: Galleri Charlotte Lund, Stockholm. Literature: Bo Nilsson and Arja Miller e.a, ‘Denise Grünstein; Figure Out’, 2010, illustrated on spread p. 23-24.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
263. Maria Friberg (Sweden, 1966-) ‘Still lives #5’, 2005. Signed Maria Friberg verso. Edition 2/6. Cibachrome, laminate, wood 180 x 230 x 5 cm. Literature: Maria Friberg, ‘Maria Friberg’, 2008, illustrated on pl. 21. Maria Friberg, ‘Maria Friberg’, 2015, illustrated on p. 60.
Estimate: SEK 150 000 – 200 000 / EUR 13 070 – 17 430 (d)
264. Hans Gedda (Sweden, 1942-) ‘Carl XVI Gustaf’, 2010. Signed Hans Gedda. Numbered AP on label verso. From Double Elvis Edition. Edition of 100. Pigment print, image 36 x 35.5 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
265. 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.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
266. Louise Enhörning (Sweden, 1976-) Untitled, 2016. Signed Louise Enhörning and dated 2016 and numbered 1/3 on label verso. C-print, 54 x 38 cm. Provenance: Loyal Gallery, Stockholm.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
267. Louise Enhörning (Sweden, 1976-) Untitled, 2016. Signed Louise Enhörning and dated 2016 and numbered 2/3 on label verso. C-print, 54 x 38 cm. Provenance: Loyal Gallery, Stockholm.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
268. Denise Grünstein (Finland, 1950–2023) ‘Winter Traum’, 2013. Signed Denise Grünstein and dated 2014 verso. Edition of 20. C-print mounted to glass 24 x 30 cm. Provenance: Galleri Mårtenson & Persson, Båstad. Exhibitions: Galleri Charlotte Lund, Stockholm, ‘Wunder/Winter’, 22 October - 11 November 2013, another example exhibited.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
269. Denise Grünstein (Finland, 1950–2023) ‘Winter Spiel’, 2013. Signed Denise Grünstein and dated 2014 verso. Edition of 20. C-print mounted to glass 24 x 30 cm. Provenance: Galleri Mårtenson & Persson, Båstad. Exhibitions: Galleri Charlotte Lund, Stockholm, ‘Wunder/Winter’, 22 October - 11 November 2013, another example exhibited.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
270. Hans Gedda (Sweden, 1942-) ‘Wolves’, 2002. Signed Hans Gedda. Printed in 2013. Gelatin silver print 100 x 100 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
271. David LaChapelle (USA, 1963-) ‘Negative Currency: 10 Yuan used as Negative’, 2010. Signed David LaChapelle and numbered 4/5 on label verso. Edition 4/5. Chromogenic print mounted to acrylic glass and framed 81 x 164 cm including frame. Provenance: David LaChapelle Studio, New York.
Estimate: SEK 175 000 – 200 000 / EUR 15 250 – 17 430
272. Horst P. Horst (Germany, 1906–1999) ‘Elaine Irwin in ad for Henri Bendel’, 1987–1988. Signed Horst verso. Gelatin silver print, 19.7 x 25 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
273. Alex Prager (USA, 1979-) ‘Untitled’, 2019. Signed certificate dated 6 March 2020 accompanies the work. Edition 11/25 + 5 AP. Archival pigment print 51 x 34 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
274. Blaise Reutersward (Sweden, 1961-) ‘DL 1215’, 2012. From the series ‘Deutsche Landschaft’. Signed BLAISE REUTERSWARD and numbered 1/5 on label verso. Total edition of 5 + 2 AP. Analogue C-print diasec mounted and framed 225 x 184 cm including frame. Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
Christian Zätterström Collection Christian Zätterström was a unique collector. He had an integrity like few other art buyers, was sure of his taste and had a self-confidence that made any attempts at persuasion unnecessary. Zätterström put his heart and soul into his professional life in law, where he worked successfully for more than 30 years, but he also had several other interests, immersing himself with great enthusiasm in art as well as music and sport. As a young man he was a professional handball player and later followed the Liverpool football team. Zätterström was rarely seen at openings and art events, instead cultivating strong relationships with a select few gallery owners and artists. These relationships are reflected in the art collection, which mainly includes works by Swedish artists. Zätterström did not intend to sell his works but bought them because he had an indomitable faith in art and its place in society. Jan Stene, curator of Gävle Art Centre and former gallery owner, was one of those who knew Christian Zätterström; ‘In an art scene with a lot of glamour and surface, Z, as we called him, was a person with a genuine interest in culture, a humanist. Art was real, not a speculation.’ Zätterström’s collection spans several different genres, expressions and materials; everything from Tova Mozard’s photography to Torsten Andersson’s paintings and Remy Zaugg’s enamel works. Much of the art hung in the home in Malmö and thus became part of the family’s everyday life. Several works were, to the delight of his colleagues, placed in the law office where he was a partner. Bukowskis has now been entrusted to sell about forty works from the Christian Zätterström Collection, but a large part of the collection is managed by his sons.
275. Tova Mozard (Sweden, 1978-) ‘Psycho’, 2003. Signed Tova Mozard and numbered AP on label verso. Total edition of 5 + 2 AP. C-print, image 97 x 122 cm. Provenance: ALP/Peter Bergman, Stockholm. Christian Zätterström Collection, Malmö. Literature: Tova Mozard and Jörg Heiser, ‘Ghost Light’, 2013, illustrated on full-page p. 55.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
276. Cecilia Edefalk (Sweden, 1954-) ‘The Meadow’, 2014. Signed Cecilia Edefalk and dated 2014 and numbered 1/1 on label verso. Total edition 1/1 + 1 AP. Gelatin silver print, image 86 x 126 cm. Including frame 102 x 142 cm. Provenance: Stene Projects, Stockholm. Christian Zätterström Collection, Malmö. Literature: Karin Sidén and Catrin Lundeberg (ed.), ‘Cecilia Edefalk; Maskros/Dandelion’, exhibition catalogue Prins Eugens Waldemarsudde, compare image p. 189.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
277. Cory Arcangel (USA, 1978-) ‘Maxell’, 2007. Four parts. Signed and numbered 1/6 verso. C-print, 30.5 x 22.5 cm per part including frame. Provenance: Brändström & Stene, Stockholm. Christian Zätterström Collection, Malmö.
Estimate: SEK 125 000 – 150 000 / EUR 10 890 – 13 070
278. Paul Fägerskiöld (Sweden, 1982-) ‘Liberated Colour Series’. Signed P Fägerskiöld and dated 2010 verso. Canvas 70 x 83 cm. Provenance: Galleri Magnus Åklundh, Malmö. Christian Zätterström Collection, Malmö. Exhibitions: Galleri Magnus Åklundh, Malmö, ‘W.I.P (Work in Progress)’, 2011.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
279. Kristoffer Zetterstrand (Sweden, 1973-) ‘Making fire (II)’. Signed Kristoffer Zetterstrand and dated 2014 verso. Panel 44 x 49 cm. Provenance: Stene Projects, Stockholm. Christian Zätterström Collection, Malmö. Exhibitions: Stene Projects, ‘Among The Remnants’, 4 December 2014 – 10 January 2015.
Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050 (d)
280. Torsten Andersson (Sweden, 1926–2009) ‘Hur jag låg på klipphyllan en månskensnatt år 1966’. Oil on canvas 62 x 70 cm. Provenance: Galerie Nordenhake, Stockholm. Christian Zätterström Collection, Malmö.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
281. Nina Roos (Finland, 1956-) Untitled. Signed Nina Roos and dated 2007. Oil on acrylic glass 50 x 100 cm. Provenance: Christian Zätterström Collection, Malmö.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
282. Anna Bjerger (Sweden, 1973-) ‘White Light’. Signed Anna Bjerger and dated 2018 verso. Oil on aluminium 70 x 80 cm. Provenance: Christian Zätterström Collection, Malmö.
Estimate: SEK 35 000 – 40 000 / EUR 3 050 – 3 490 (d)
283. Kristina Matousch (Sweden, 1974-) Untitled. Signed K. Matousch and dated 2014 verso. Canvas 143 x 100 cm. Provenance: Christian Zätterström Collection, Malmö.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
284. Carmen Winant (USA, 1983-) Untitled. Signed Carmen Winant and dated 2017 verso. Diptych. Marker pen and charcoal on paper 76 x 56 cm. Provenance: Stene Projects, Stockholm. Christian Zätterström Collection, Malmö. Exhibitions: Stene Projects, Stockholm. ‘Camouflage’, 2017.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490
285. Sylvan Lionni (USA, 1973-) ‘Totem’. Signed Sylvan Lionni and dated 2015 verso. Brown uerethan on steel 66 x 38 cm. Provenance: Stene Projects, Stockholm. Christian Zätterström Collection, Malmö.
Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620
286. Sverre Bjertnaes (Norway, 1976-) ‘Wasteland I’. Signed S Bjertnaes. Canvas 135 x 140 cm. Provenance: Christian Zätterström Collection, Malmö. Exhibitions: Haugar Vestfold kunstmuseum, Norway, ‘Implosion - Sverre Bjertnaes’, 16 June - 26 August 2007.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
287. Ann Edholm (Sweden, 1953-) ‘Colmar I’. Signed Ann Edholm and dated 2006 verso. Oil on aluminium 73 x 63 cm. Provenance: Christian Zätterström Collection, Malmö.
Estimate: SEK 50 000 – 60 000 / EUR 4 360 – 5 230 (d)
288. Carmen Winant (USA, 1983-) ‘Looking Forward to Being Attacked’. Signed Carmen Winant and dated 2015–16 verso. Photo collage 75 x 56 cm. Provenance: Stene Projects, Stockholm. Christian Zätterström Collection, Malmö.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620
289. Cecilia Edefalk (Sweden, 1954-) Untitled. Signed C Edefalk and dated 1997. Watercolour on paper 10 x 30 cm. Provenance: Bukowski Auktioner, november 2016. Christian Zätterström Collection, Malmö.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
290. Alfred Boman (Sweden, 1981-) Untitled. Signed Alfred Boman and dated 2013 verso. Mixed media on canvas 192 x 146.5 cm. Provenance: Christian Zätterström Collection, Malmö.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
291. Johan Thurfjell (Sweden, 1970-) ‘Skulls’. Executed in 2010. Polyptych. Oil on MDF 20 x 13 cm each. Provenance: Galerie Nordenhake, Stockholm. Christian Zätterström Collection, Malmö.
Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360 (d)
292. Elisabeth Frieberg (Sweden, 1977-) ‘Untitled (Taos, Van Gogh, Monet)’. Signed E. Frieberg and dated 2014 verso. Oil on canvas 183 x 183 cm. Provenance: Galleri Thomas Wallner, Simris. Christian Zätterström Collection, Malmö. Exhibitions: Galleri Thomas Wallner, Simris, ‘Dying on Stage: New Paintings by Elisabeth Frieberg’, 6 September – 12 October 2014.
Estimate: SEK 125 000 – 150 000 / EUR 10 890 – 13 070 (d)
293. Fredrik Hofwander (Sweden, 1973-) ‘Inner Island’. Graphite on paper 82 x 123 cm. Provenance: Christian Zätterström Collection, Malmö.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
294. John-E Franzén (Sweden, 1942–2022) ‘Mr Shit (Roots)’. Signed JEF and dated 2016. Pencil and ink on paper 28 x 18 cm. Provenance: Stene Projects, Stockholm. Christian Zätterström Collection, Malmö.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
295. Leonard Forslund (Sweden, 1959-) ‘G. (Paviljongerna)’. Signed Leonard Forslund and dated 1990 verso. Oil on canvas 123,5 x 170 including the artist’s aluminum frame. Provenance: Galleri Wallner, Malmö. Christian Zätterström Collection, Malmö. Exhibitions: Galleri Wallner, Malmö, ‘Paviljongerna’, 1990.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
296. Julia Bondesson (Sweden, 1983-) ‘The Fiddler’. Signed Julia Bondesson and dated 2015. Wood and mixed media, height approx. 160 cm. Provenance: Johan Berggren Gallery, Malmö. Christian Zätterström Collection, Malmö Exhibitions: Halmstads Konsthall, ‘At Night’, 11 May – 7 June, 2016.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
297. Yngve Rådberg (Sweden, 1968-) ‘Interiör’. Executed 2008. Oil on acrylic glass 28 x 42 cm. Provenance: Galleri Gunnar Olsson, Stockholm. Christian Zätterström Collection, Malmö. Exhibitions: Dunkers Kulturhus, Helsingborg, ‘Case Closed - ett bokslut Yngve Rådberg’, 26 June - 19 October 2008. Literature: ‘Yngve Rådberg’, red. Magnus Jensner, Anders Olofsson, Dunkers Förlag, Helsingborg 2008. Illustrated and listed in the catalogue as no 76.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
298. Yngve Rådberg (Sweden, 1968-) ‘Flash-back’. Signed Yngve Rådberg and dated 09 verso. Oil on plexi glass 28 x 42 cm. Provenance: Galleri Gunnar Olsson, Stockholm. Christian Zätterström Collection, Malmö.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
299. Carmen Winant (USA, 1983-) Untitled. Two vases/sculptures, each signed Carmen Winant and dated 2017. Ceramic and paper decals, height 23 cm. Provenance: Stene Projects, Stockholm. Christian Zätterström Collection, Malmö. Exhibitions: Stene Projects, Stockholm. “Camouflage”, 2017.
Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620
300. Sylvan Lionni (USA, 1973-) ‘Airmail’. Signed Sylvan Lionni and dated 2014 verso. Arylic on canvas laid on panel 150 x 114 cm. Provenance: Stene Projects, Stockholm. Christian Zätterström Collection, Malmö.
Estimate: SEK 35 000 – 40 000 / EUR 3 050 – 3 490
301. Torsten Andersson (Sweden, 1926–2009) Untitled. Signed Torsten and dated 59. Canvas 100 x 71 cm. Provenance: Christian Zätterström Collection, Malmö.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
302. Nina Roos (Finland, 1956-) ‘A thin white line cuts the space’. Signed Nina Roos and dated 2015–16 verso. Canvas 200 x 240 cm. Provenance: Galleri Wallner, Malmö. Christian Zätterström Collection, Malmö. Exhibitions: Lunds konsthall, ‘Betrakta det återhållnas vikt’, May - June 2019. Galleri Wallner, Malmö, ‘The Cut’, 23 July - 28 August 2016.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
303. Elisabeth Frieberg (Sweden, 1977-) ‘Untitled (God. Goat)’. Signed E. Frieberg and dated 2015 verso. Oil on linen canvas 38 x 31. Including the artist’s original frame 41.3 x 34 cm. Provenance: Stene Projects, Stockholm. Christian Zätterström Collection, Malmö.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
304. B. Ingrid Olson (USA, 1987-) ‘Hair, glass, foil, flash, velvet, rubber’. Signed B. Ingrid Olson and dated 2016 verso. A signed cetificate accompanies the work. Assemblage, C-print, PVA, polyurethane foam, fiberboard, screws, plexi glass, H 41.5 x W 21.5 x D 11 cm. Provenance: Galerie Nordenhake, Stockholm. Christian Zätterström Collection, Malmö.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
305. Clay Ketter (Sweden, 1961-) ‘White over grey wall painting’. Signed Clay Ketter and dated 1999 verso. Gypsum wallboard, spackle, wood with steel edges 180 x 180 cm. Provenance: Galleri Brändström, Stockholm. Bukowski Auktioner, Contemporary Art & Design 599, May 2017. Christian Zätterström Collection, Malmö.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
306. Paul Fägerskiöld (Sweden, 1982-) ‘Untitled’. Signed Paul Fägerskiöld and dated 2012 verso. Acrylic on canvas 171 x 202 cm. Provenance: Galerie Nordenhake, Stockholm. Christian Zätterström Collection, Malmö. Exhibitions: Galerie Nordenhake, Stockholm, ‘New Painting’, 2012.
Estimate: SEK 175 000 – 200 000 / EUR 15 250 – 17 430 (d)
307. Elin Odentia (Sweden, 1990-) ‘She threw her glass’. Signed Elin Odentia and dated 2016 verso. Canvas 120 x 108 cm. Provenance: Directly from the artist. Christian Zätterström Collection, Malmö.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
308. Per Mårtensson (Sweden, 1969-) ‘Hissmålning’. Signed Per Mårtensson and dated 2014 verso. Canvas 200 x 100.5 cm. Provenance: Christian Zätterström Collection, Malmö.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
309. John-E Franzén (Sweden, 1942–2022) ‘Besökarna 2’. Signed John-E Franzén and dated 2009–2012 verso. Canvas 48 x 72 cm. Provenance: Stene Projects, Stockholm. Christian Zätterström Collection, Malmö. Exhibitions: Stene Projects, Stockholm, ‘The Visitors’, 17 January - 23 February 2013. Ljungbergmuseet, Ljungby, ‘John-E Franzén’, 17 June - 3 September 2023.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
310. Torsten Andersson (Sweden, 1926–2009) ‘Självporträtt’. Signed Torsten. Executed in the 1960’s. Diptych. Oil on canvas, painted wood, metal 24.5 x 44.2 cm. Provenance: Burén Collection, Stockholm. Christian Zätterström Collection, Malmö. Exhibitions: ‘Torsten Andersson’, Moderna Museet, Stockholm, 1986, cat. no 160.
Estimate: SEK 35 000 – 40 000 / EUR 3 050 – 3 490 (d)
311. Håkan Rehnberg (Sweden, 1953-) Untitled. Signed Håkan Rehnberg and dated 2004. Oil on acrylic glass 75 x 65 cm. Provenance: Christian Zätterström Collection, Malmö.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
312. Viktor Kopp (Sweden, 1971-) Untitled. Signed Viktor Kopp and dated 2005 verso. Canvas 170 x 170 cm. Provenance: Christian Zätterström Collection, Malmö.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
Rémy Zaugg, ‘SCHAU, ICH BIN BLIND, SCHAU’ Rémy Zaugg was born in 1943, in Courgenay, Switzerland. He lived and worked in Pfastatt, France and Basel, Switzerland, until his death in 2005. Zaugg is primarily known as a conceptual artist. He played an important role as both a critic and observer of contemporary culture, especially with regards to the perception of space and architecture. He believed sight and consciousness to be effectively linked and worked with the meaning of text and words as subjects in his paintings. His works used language in a fragmented way to convey that which is most critical for a human, being seen by the other. Throughout his practice there was a desire to make the viewer aware of the perceptive tools that each person possesses. He put great emphasis on the space that emerges between the work of art, the viewer and the context. Zaugg also took a strong interest in language and its power to deconstruct and reconstruct new contexts. Zaugg was active in a number of different mediums, among others painting, text, sculpture and architectural designs.
313. Rémy Zaugg (Switzerland, 1943–2005) ‘SCHAU, ICH BIN BLIND, SCHAU’. Signed and dated 1997/1998 and marked No.19, rouge/bleu 207/3.10 verso. Auto lacquer silk-screened on aluminum 69.7 x 77.7 cm. Provenance: Galerie Nordenhake, Stockholm. Bukowski Auktioner, Contemporary Art & Design 602, October 2017. Christian Zätterström Collection, Malmö. Exhibitions: Liljevalchs, Stockholm, Sweden, ‘Drömrummet’, 6 June – 4 September 2011.
Estimate: SEK 225 000 – 250 000 / EUR 19 600 – 21 780
322. Mamma Andersson, ‘Dramatiska Teatern’.
Art for the Globe Collection Johan Wallin's newly started foundation Behind the newly started Art for the Globe foundation is the doctor Johan Wallin, who, during his 84–year–old life, collected close to 700 original works by contemporary Swedish artists. The foundation will annually reward humanists who strengthen awareness around the environment and our fragile planet. ‘I believe that all change begins with humans, in our heads, thoughts and values - a place where artists, writers and musicians reach.’, says Johan Wallin.
314. Lena Cronqvist (Sweden, 1938-) ‘Mohikanen (Linus)’. Signed L. Cronqvist and dated 1986. Canvas 200 x 120 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation.
Estimate: SEK 300 000 – 500 000 / EUR 26 140 – 43 560 (d)
315. Gittan Jönsson (Sweden, 1948-) ‘Torkel’. Signed G Jönsson and dated 1973. Watercolour on paper 24 x 21 cm. Provenance: Johan Wallin Collection, Uppsala Art for the Globe Foundation.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
316. Sara Johansson (Sweden, 1954–2010) ‘Punkare’. Signed S. Johansson. Charcoal on paper 61 x 46 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation.
317. Erland Cullberg (Sweden, 1931–2012) ‘Primadonnan’. Signed Erland Cullberg. Executed in 2005. Pastel crayon on paper 31 x 40 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation.
Estimate: SEK 3 000 – 5 000 / EUR 270 – 440 (d)
Exhibitions: Galleri Kavaletten, Uppsala, 1986.
Estimate: SEK 3 000 – 4 000 / EUR 270 – 350 (d)
318. Erland Cullberg (Sweden, 1931–2012) ‘Aida’. Signed Erland Cullberg. Executed in 2005. Pastel crayon on paper 33 x 39 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation.
Estimate: SEK 2 000 – 4 000 / EUR 180 – 350 (d)
319. Erland Cullberg (Sweden, 1931–2012) ‘Romeo och Julia’. Signed by Erland Cullberg. Executed in 2005. Pastel crayon on paper 39 x 31 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation.
Estimate: SEK 3 000 – 5 000 / EUR 270 – 440 (d)
320. Erland Cullberg (Sweden, 1931–2012) ‘Hon dansade en sommar’. Signed Erland Cullberg. Executed in 2000. Pastel crayon on paper 97 x 64 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 700 (d)
321. Erland Cullberg (Sweden, 1931–2012) ‘Den lille trumslagaren’. Signed E Cullberg. Executed in 1998. Oil on wood 111 x 45 cm. Provenance: Acquired directly from the artist by the present owner. Johan Wallin Collection, Uppsala. Art for the Globe Foundation.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
322. Mamma Andersson (Sweden, 1962-) ‘Dramatiska Teatern’. Signed Karin Mamma Andersson and dated 1999 verso. Oil on canvas 84 x 84 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Botkyrka Konsthall, Stockholm, 1997.
Estimate: SEK 1 000 000 – 1 500 000 / EUR 87 110 – 130 670 (d)
323. Lennart Gram (Sweden, 1910–1996) ‘Flöjtisten’. Signed Gram. Canvas 72 x 60 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Galleri Kavaletten, Uppsala, 1986.
Estimate: SEK 5 000 – 6 000 / EUR 440 – 530 (d)
324. Ronald de Wolfe (Sweden, 1920-) ‘Symfoni’. Signed Ronald de Wolfe. Executed in 2004. Canvas 73 x 92 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Galleri Kavaletten, Stockholm, 2002.
Estimate: SEK 4 000 – 6 000 / EUR 350 – 530 (d)
325. Ronald de Wolfe (Sweden, 1920-) ‘Orkester’. Signed Ronald de Wolfe. Executed in 2004. Canvas 89 x 115 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Galleri Kavaletten, Stockholm, 1996.
Estimate: SEK 5 000 – 7 000 / EUR 440 – 610 (d)
326. Veikko Keränen (Finland, 1935-) ‘Freddie Green (jazzgitarrist)’. Signed under the base Veikko Keränen and numbered 4/5. Executed in 1986. Aluminium 103 x 9 x 4 cm. Mounted on a wooden base, height 3 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Galleri Kavaletten, Stockholm, 2003. Literature: Veikko Keränen, Galleri Lundmark, ‘Veikko Keränen skulptur’, 1990, illustrated p. 33.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 700 (d)
327. Berta Hansson (Sweden, 1910–1994) ‘Dansande barn’. Signed BH. Executed in 1975. Pencil on paper 20 x 26 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Galleri Kavaletten, Uppsala, 1988.
Estimate: SEK 4 000 – 6 000 / EUR 350 – 530 (d)
328. Cecilia Sikström (Sweden, 1962-) ‘Fjärilvingar’. Signed by Cecilia Sikström verso. Canvas 100 x 90 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Galleri Kavaletten, Uppsala, 1993.
Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310 (d)
329. Rune Rydelius (Sweden, 1946-) ‘Dans’. Signed R. Rydelius. Executed in 2010. Painted sheet metal, height 44 cm including concrete base. Provenance: Acquired directly from the artist by the present owner. Johan Wallin Collection, Uppsala. Art for the Globe Foundation.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 700 (d)
330. Fruls Tilpo (Sweden, 1960-) ‘Primadonnor’. Signed Tilpo. Executed in 1992. Canvas 125 x 180 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Galleri Kavaletten, Uppsala, 1993.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
331. Bror Marklund (Sweden, 1907–1977) ‘Mäster Olof - Spelman’. Signed with initials BM. Numbered 1/6. Inscription on the base: Spelman Mäster Olof. Bronze, light brown patina, height 18 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Konstakademien, Stockholm, 2006. Literature: Eugen Wretholm, ‘Bror Marklund’, Sveriges Allmänna Konstförening, Stockholm, 1973, p. 164.
Estimate: SEK 6 000 – 8 000 / EUR 530 – 700 (d)
332. Alvar Jansson (Sweden, 1922–1991) ‘Cellisten’. Executed in 1985. Canvas laid on panel 190 x 122 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Göteborgs konstmuseum, Gothenburg, January 15 - March 6, 1994. Galleri Kavaletten, Stockholm, 2004. Literature: Lena Boëthius, Peter Dahl, Alvar Jansson (ed.), ‘Alvar Jansson’, 1993, illustrated p. 79.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
333. Bo Larsson (Sweden, 1945-) ‘Utsikt från Södran’. Signed Bo Larsson and dated 04. Canvas 74 x 80 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Konstakademien, Stockholm, exhibition No 24, 11 February - 12 March 2006. Literature: Konstakademien, Stockholm, 11 February - 12 March 2006, exhibition no 24, p.20.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
334. Jan Runefelt (Sweden, 1946-) ‘Det brinner i spelet’. Signed Jan Runefelt and dated 05. Panel 121 x 92 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Galleri Kavaletten, Stockholm, 2005.
Estimate: SEK 5 000 – 7 000 / EUR 440 – 610 (d)
335. Jockum Nordström (Sweden, 1963-) ‘La Scala’. Signed Jockum and dated Jan 1989 verso. Oil on canvas 124.5 x 160 cm. Provenance: Acquired directly from the artist by the present owner. Johan Wallin Collection, Uppsala. Art for the Globe Foundation.
Estimate: SEK 175 000 – 200 000 / EUR 15 250 – 17 430 (d)
336. Lars Olov Wiberg (Sweden, 1944-) ‘Fashing’. Signed LO Wiberg and dated -81. Oil on canvas, approximately 190 x 230 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Galleri Kavaletten, Uppsala, 1981.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
337. Lars Olov Wiberg (Sweden, 1944-) ‘Basist’. Signed LO Wiberg and dated 81. Canvas 124 x 86 cm. Provenance: Johan Wallin Collection, Uppsala. Art for the Globe Foundation. Exhibitions: Galleri Kavaletten, Uppsala, 1981.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
338. Charlotte Gyllenhammar (Sweden, 1963-) ‘Night Descend Miniature’.
338. Charlotte Gyllenhammar (Sweden, 1963-) ‘Night Descend Miniature’. Signed CG and dated -18, edition 8/30. Bronze, height 36 cm. Estimate: SEK 50 000 – 60 000 / EUR 4 360 – 5 230 (d)
339. Marie-Louise Ekman (Sweden, 1944-) ‘Död pensel-monument med Olle Baertling-tavla’. Signed M.L De Geer Bergenstråhle and dated 1980. Gouache on silk 29.5 x 20.5 cm. Including the artist’s frame 40 x 31 cm. Provenance: Galerie Aronowitsch, Stockholm. Acquired by the present owner in 1980. Exhibitions: Galerie Aronowitsch, Stockholm, ‘Marie-Louise De Geer Bergenstråhle’, 12 - 30 April 1980.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
340. Patrik Andiné (Sweden, 1968-) ‘Bubbla’. Signed Patrik Andiné and dated 2010 verso. Oil on panel 12.5 x 17.5 cm. Estimate: SEK 18 000 – 20 000 / EUR 1 570 – 1 750 (d)
341. Jan Håfström (Sweden, 1937-) Untitled. Signed Jan Håfström and dated 2006 verso. Panel 60 x 60 cm. Exhibitions: Liljevalchs Konsthall, Stockholm, ‘Mörkrets Hjärta’, 18 April - 21 May 2009.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
342. Helene Billgren (Sweden, 1952-) ‘Kvinna i sköterskerock hoppar bock över TV:n’. Signed Helene Billgren verso. Charcoal on paper 40 x 35 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310 (d)
343. Jesper Waldersten (Sweden, 1969-) ‘Forever Never’. Signed Waldersten. Executed in 2015. Oil on paper 86 x 62 cm. Provenance: Acquired directly from the artist by the present owner.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
344. Lena Cronqvist (Sweden, 1938-) Flicka i glaskupa.
399. Klara Kristalova (Sweden, 1967-) ‘En annan hästflicka / Another Horse Girl’.
344. Lena Cronqvist (Sweden, 1938-) Flicka i glaskupa. Painted ceramic, copper thread and wood, glass bowl. Height 32 cm. Provenance: Lars Bohman Gallery, Stockholm.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
345. Jens Fänge (Sweden, 1965-) ‘Patrick Modiano (version of the Nobel Prize diploma 2014)’. Signed Jens Fänge. Watercolour and ink on paper 33 x 21 cm. Provenance: Galleri Magnus Karlsson, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
346. Markus Åkesson (Sweden, 1975-) ‘Rites Of Passage (the Big Night)’. Signed Markus Åkesson verso. Canvas 67 x 100 cm. Exhibitions: Pelle Unger Gallery, Stockholm. Literature: Pelle Unger Gallery, Stockholm, 2011, illustrated in the exhibition catalogue.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
347. Astrid Sylwan (Sweden, 1970-) Untitled. Signed Astrid Sylwan and dated 2013. Panel 23 x 20.2 cm. Estimate: SEK 18 000 – 20 000 / EUR 1 570 – 1 750 (d)
348. Katarina Andersson (Sweden, 1960-) Untitled. Signed Katarina Andersson and dated 16/8/02, 2002 verso. Oil tempera on canvas 149 x 180 cm. Provenance: Galleri Magnus Åklundh, Malmö. Dan-Ola and Ann Christine Larsson Collection.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
349. Michael Johansson (Sweden, 1975-) ‘Engine bought separately - Krups’. Mixer, welded metal frame, spray paint. Diptych. 27 x 49 cm and 49 x 49 cm. Provenance: Nordin Gallery, Stockholm.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
350. Ernst Billgren (Sweden, 1957-) Untitled. Signed EB. Mixed media on canvas and glass 126 x 140 cm in artist’s frame. Provenance: Acquired from the artist.
Estimate: SEK 200 000 – 250 000 / EUR 17 430 – 21 780 (d)
351. Ylva Snöfrid (Ogland) (Sweden, 1974-) ‘Falling Asleep, Madonna with Child and Kannon with Lotus, Version 1’. Signed Ylva Ogland verso. Diptych. Oil on canvas, each 96 x 73 cm. Literature: Bonniers Konsthall och Silvana Editoriale, ed. Sara Arrhenius and others, ‘Ylva Ogland, She, an introduction’, Stockholm, 2015, illustrated p. 224.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
352. Anna Camner (Sweden, 1977-) ‘Untitled 10 (The Naked Dive)’. Signed Anna Camner and dated 2021 verso. Oil on acrylic glass 25 x 31 cm. Provenance: Wetterling Gallery, Stockholm. Exhibitions: Wetterling Gallery, Stockholm, ‘Anna Camner, The Naked Dive’, 24 March - 7 May 2022.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
353. Karl Norin (Sweden, 1982-) ‘Greenhouse Thai’. Signed KN and dated 14 verso. Fake fur and epoxy on foamcore in aluminum frame 176 x 136 cm. Provenance: Carl Kostyál, Stockholm. Private Collection, Oslo.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d) 12% Import VAT will be charged on the hammer price on this lot.
354. Alfred Boman (Sweden, 1981-) ‘Bee World’. Signed Alfred Boman and dated 206 verso. Acrylic, glue emulsion, fabric-collage, oil, wax and spray paint on canvas 190 x 300 cm. Provenance: Loyal Gallery, Stockholm.
Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
355. Martin Wickström (Sweden, 1957-) ‘Parken’. Signed Martin Wickström and dated -14 verso. Canvas 90 x 60 cm. Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
Mats Gustafson Mats Gustafson is Dior's favourite illustrator and is considered one of the world's best fashion illustrators. Swedes were last introduced to his aesthetic through the exhibition ‘Reclaiming Beauty’ at Millesgården in Stockholm, 10 June-10 September 2023, which he created with partner Ted Muehling. The Nordic Watercolour Museum summarises his work as follows: ‘Mats Gustafson has a special feeling for the volatile temperament of watercolour. At the end of the 1970s, he began his career as an international fashion illustrator. Eventually, he broke into the artistic arena as well. Gustafson moves effortlessly between fashion illustrations, nature painting and erotically charged studies. His subjects are seemingly simple: conifers and boulders in the landscape, a deer, ageing faces and nudes, but at the heart of his work is the capture of beauty in its various manifestations. Gustafson's expression is both elegant and subtle. There is no room for mistakes in the lines. Light and shadow are rhythmically distributed over the sheets of paper. Colours merge to become one body.’
356. Mats Gustafson (Sweden, 1951-) ‘Rose’. Alexander McQueen, Fall 2015 (for The Last Magazine, Issue No. 15). Signed Mats Gustafson and dated 2015 verso. Watercolour on paper, 45 x 33 cm. Including frame 74.5 x 60 cm. Estimate: SEK 35 000 – 40 000 / EUR 3 050 – 3 490 (d)
357. Mats Gustafson (Sweden, 1951-) ‘Rock’. Signed Mats Gustafson and dated 2005 verso. Watercolour on paper 38 x 27 cm. Including frame 47 x 37 cm. Provenance: Galleri Charlotte Lund, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
358. Mats Gustafson (Sweden, 1951-) ‘Walnut Tree (Winter)’. Signed Mats Gustafson and dated 2004 verso. Watercolour on paper 51 x 38 cm. Including frame 60 x 47 cm. Provenance: Galleri Charlotte Lund, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
359. Mats Gustafson (Sweden, 1951-) ‘Vouge China- Valli Couture’. Signed Mats Gustafson and dated -11 verso. Watercolour on paper 45 x 33 cm. Including frame 73 x 60 cm. Provenance: Galleri Charlotte Lund, Stockholm.
Estimate: SEK 35 000 – 40 000 / EUR 3 050 – 3 490 (d)
360. Mats Gustafson (Sweden, 1951-) ‘Vera, 8’.
361. Mats Gustafson (Sweden, 1951-) ‘Vera 10’.
Signed MG and dated 06 verso. Oil on panel 30.5 x 40.5 cm.
Signed MG and dated 06 verso. Oil on panel 45.5 x 60.5 cm.
Provenance: Galleri Charlotte Lund, Stockholm.
Provenance: Galleri Charlotte Lund, Stockholm.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
362. Mats Gustafsson (Sweden, 1951-) ‘Male Nude’.
363. Mats Gustafson (Sweden, 1951-) Untitled .
Watercolour on paper 48.5 x 33.5 cm.
Executed in 1994. Watercolour on paper 44 x 37 cm.
Provenance: Galleri Charlotte Lund, Stockholm, acquired by the present owner in 1995.
Provenance: Galleri Charlotte Lund, Stockholm.
Estimate: SEK 30 000 – 35 000 / EUR 2 620 – 3 050 (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 620 – 3 050 (d)
364. Inez Jönsson (Sweden, 1989-) Untitled. Signed Inez and dated -19 verso. Canvas 45 x 33 cm Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
365. Leontine Arvidsson (Sweden, 1974-) Untitled. Rebar. Length 240 cm, width 165 cm, depth 50 cm. Provenance: AnnaElle Gallery, Stockholm. Exhibitions: AnnaElle Gallery, Stockholm, ‘Leontine Arvidsson’, 24 January - 28 February 2015.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
366. Ida Persson (Sweden, 1985-) Untitled. Signed Ida Persson and dated 2015 verso. Panel 16.5 x 12 cm. Estimate: SEK 4 000 – 6 000 / EUR 350 – 530 (d)
367. Ane Mette Hol (Norway, 1979-) ‘After Kuonellis Untitled, no 1’ Signed Ane Mette Hol verso. Executed in 2007. Pencil and charcoal on paper 29.7 x 21 cm. Provenance: Lautom Contemporary, Oslo. Privat samling, Stockholm.
Estimate: SEK 4 000 – 6 000 / EUR 350 – 530 (d)
367A. Ane Mette Hol (Norway, 1979-) ‘After Kuonellis Untitled, no 2’. Signed Ane Mette Hol verso. Executed in 2007. Pencil and charcoal on paper 29.7 x 21 cm. Provenance: Lautom Contemporary, Oslo. Privat samling, Stockholm.
Estimate: SEK 4 000 – 6 000 / EUR 350 – 530 (d)
Karin Broos, ‘Den röda soffan 2’ In ‘The Red Sofa II,’ an anonymous woman is placed in a cozy home environment. She is curled up in the bourgeois Carl Malmsten sofa ‘Hemmakväll,’ with a traditional bookshelf wall filled with reference books in the background. It’s a bit messy, but we still feel that there is work happening in this room. The setting could be from the 1950s if it weren’t for the fairly large printer taking up space in one corner and an open laptop testifying to the 2000s. The main character is completely absorbed in her own world, with her gaze turned towards what is happening on the screen. Like the Dutch 17th– century painters Vermeer and Pieter de Hooch’s paintings of women reading letters, it sparks the viewer’s inner imagination. Karin Broos studied at the Royal Academy of Fine Arts in the city of ’s-Hertogenbosch in the Netherlands between 1970 and 1975. The artist has described how she had been a searching soul and how she felt that she had found her place in the strict discipline that prevailed at the art school. The days were filled with figure drawing and model painting according to old traditions, and at the end of each academic year, there was an evaluation and selection of students. It was a constant pursuit of perfection. After graduation, there was a strong longing for the Swedish nature and a simpler life. Together with her husband Marc, they found a house in Värmland where they settled down. For a while after her education, Broos painted excessively rough to create distance from perfection. Later in life, Karin Broos transitioned to abstract painting and then to photorealistic art. It wasn’t until 2007 that Broos had her national breakthrough in Sweden. She has said that she is grateful that it took so long, as her family and work developed hand in hand. The models in Broos’ paintings are often drawn from those closest to her, such as her daughters and grandchildren. She finds inspiration for her nature depictions primarily from her surroundings in Värmland, such as Lake Fryken and the vast forests surrounding its shores. Broos often uses her own photographs as inspiration and support for memory in a painstaking artistic process. Photography is the art form that she claims to value the most, and it is an interest she carried with her from her time studying in the Netherlands. Sometimes, when she doesn’t feel finished with a subject, she can paint it again from a different ‘camera angle.’ The ‘The Red Sofa II’ exists in two versions. The first one is more stripped down, with the red sofa and the model taking up more space in the image. The seemingly everyday situation is ambiguous and charged. In the version currently up for auction, the brushstrokes are more precise, and the artist has left behind the rougher painting style for the photo-realistic. The subject is bathed in warm and comforting light, and the woman in the corner of the sofa is alone but does not exude loneliness. 368. Karin Broos (Sweden, 1950-) ‘Den röda soffan 2’ (‘The red sofa’). Signed Karin Broos and dated 2011 verso. Canvas 145 x 195 cm. Provenance: Stockholms Auktionsverk, Nutida - Kvällsauktion, 12 November, 2013, lot. no 48. Private Collection, Sweden. Exhibitions: Sven-Harrys Konstmuseum, Stockholm, 10 September - 20 November 2011. Strandverket, Marstrand, ‘Minnesmärken’, 23 June - 28 September 2014. Prins Eugens Waldemarsudde, Stockholm, ‘Still Life’, 10 October 2015 - 21 February 2016. Liljevalchs Konsthall, Stockholm, ‘Karin Broos, Svart sol’, 2 June - 27 August 2023. Literature: Prins Eugens Waldemarsudde, ‘Still Life’, exhibition catalogue, 2015, illustrated fullpage cat. no 11. Liljevalchs konsthall, Stockholm, ‘Karin Broos, Ögonblick av liv’, 2023, illustrated spread p. 42-43.
Estimate: SEK 400 000 – 500 000 / EUR 34 850 – 43 560 (d)
369. Matias Faldbakken (Norway, 1973-) ‘Fashioned by Slavery (Oslo #03)’. Signed and dated 2012 verso. Unique. Indian ink on framed lightjet print, 163 x 121 cm incl. frame. Provenance: Standard, Oslo. Carl Kostyál, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
370. Rolf Hanson (Sweden, 1953-) Untitled. Signed Rolf Hanson and dated -93 verso. Panel 122 x 100 cm. Provenance: Galleri Björn Bengtsson, Varberg.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
371. Alexander Klingspor (Sweden, 1977-) ‘Just like a Bird Without a Feather’. Signed A Klingspor and dated New York 2009 verso. Oil on panel 59 x 43.5 cm. Provenance: Arcadia Fine Arts, New York.
Estimate: SEK 50 000 – 60 000 / EUR 4 360 – 5 230 (d)
372. Anna Bjerger (Sweden, 1973-) ‘Trana’. Signed Anna Bjerger and dated 2015 verso. Oil on aluminum 40 x 50 cm. Provenance: Galleri Magnus Karlsson, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
373. Fredrik Wretman (Sweden, 1953-) ‘Minitrans’. Signed Fredrik Wretman and dated 2005 III underneath. Polyurethane. Height 29 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
374. Carl Hammoud (Sweden, 1976-) ‘Distortion’. Signed Carl Hammoud and dated 2007 verso. Canvas 86 x 110 cm. Provenance: Bellwether Gallery, New York. Sotheby’s, ‘Contemporary Art’, 5 March - 18 March 2021, lot no. 625. Exhibitions: Bellwether Gallery, New York, ‘Project Room: Carl Hammoud’, 2007.
Estimate: SEK 140 000 – 160 000 / EUR 12 200 – 13 940 (d)
375. Jan Håfström (Sweden, 1937-) ‘Skogsaltare I och II’. Signed Jan H underneath. Diptych. Painted plywood, plastic grass, plastic trees. Each part 36.5 x 25 x 9 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310 (d)
376. Jarl Ingvarsson (Sweden, 1955-) ‘Untitled’. Executed in 2020. Acrylic and charcoal on paper 59.5 x 42 cm. Provenance: Galerie Forsblom, Stockholm.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
377. Danilo Stankovic (Sweden, 1981-) ‘Äring’. Signed Danilo Stankovic and dated 2014 verso. Oil on canvas 200 x 160 cm. Provenance: Loyal Gallery, Stockholm.
Estimate: SEK 125 000 – 150 000 / EUR 10 890 – 13 070 (d)
378. Ola Billgren (Sweden, 1940–2001) ‘Ansikte’. Signed Ola Billgren and dated -94. Canvas 52 x 46 cm. Provenance: Galleri Glemminge, Glemmingebro.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
379. Per Kesselmar (Sweden, 1960-) Untitled. Signed Per Kesselmar and dated 2009 verso. Oil on metal 90 x 180 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
Lena Cronqvist The poem MAMMA MAMMA written by Lena Cronqvist was published in the book ‘Lena Cronqvist’, edited by Carl-Johan Bolander, Galerie Belle, 1979. mamma hav mamma gräs mamma av sten mamma grön så grön mamma blås så ljum och häcken växer kämpahög mamma hav av rostig ljung rullar du in mot bergen bryts och slår upp i skummande vildrosor mamma jag vandrar dig ögonvandrar Mamma mamma lilla mamma dina berg har torkat ditt gräs så vitt dina bär ‘söta hallon i svarta natten’ och dina vilda äpplen Mamma sjung Mamma sjung om sanden mamma minns du tromben av myror hur dom virvlade och for hur stranden flög i myr och sandstorm Hur jag tryckte mot dig platt som foster och Blixten som slog och slog Mamma lilla mamma idag så stilla så varm minns du våra lekar under täcket dina lakan av snö dina arbetskläder bruna mot kyla din gröna päls ditt gräs din grenverk dina pinniga barr dina hemligaste kärr fyllda av myrliljor och sländor mamma ö mamma du luktar så gott av höst och vissnade syrsor
Lena Cronqvist is a versatile and celebrated artist who has explored a variety of styles and themes throughout her career. In the 1970s, after recovering from a serious illness, she turned to nature painting in a way that would characterise her artistic expression during that decade.
(Galerie Doktor Glas, Stockholm, 1977)
Estimate: SEK 300 000 – 400 000 / EUR 26 140 – 34 850 (d)
Nature offered her a free zone. Close and detailed studies of the forest and ground vegetation became a healing substitute for compulsory medication and institutionalised care. For a period of time, Lena Cronqvist worked almost therapeutically with precisely realistic largeformat studies of nature. In the painting 'Blommande myrliljor' (Flowering marsh lilies), the artist has carefully depicted the different stages of the herb's flowering. The large canvas is covered with marsh lilies, the inflorescences shining in bright yellow, the clusters of fruit in red-orange, and in between the withered flowers as stamens in pale grey. In another version of the motif, 'Vissna myrliljor' (Withered marsh lilies) from the same period, the lilies have withered completely and laid down as a patterned blanket over the ground. It is astonishing that at the same time as Cronqvist was creating these magnificent nature paintings, she was also immersing herself in light, small-scale plein air painting on Koster in the Bohuslän archipelago. Like her role model, the artist Inge Schiöler, she regularly returns to the archipelago. Ever since she bought a summer house on the island in 1964, she has been painting small expressive landscapes glowing with colour. Like Schiöler, she captures the magnificence of nature in what is close at hand. Lena Cronqvist's nature paintings from 1965 to 1980 provide perspective on the great drama and the main direction of her work, which focuses more on human life and death.
380. Lena Cronqvist (Sweden, 1938-) ‘Myrliljor I’. Signed Lena Cronqvist and dated 1973. Oil on canvas 140 x 185 cm. Provenance: Galerie Belle, Västerås. Exhibitions: Galerie Belle, Västerås, exhibition no 107. Literature: ‘Lena Cronqvist - en presentation med text och dikter av Tobias Berggren, Lena Cronqvist, Göran Sonnevi och Göran Tunström’, published by Carl-Johan Bolander, Galerie Belle, Västerås, 1979, illustrated p. 42.
381. Ulrik Samuelson (Sweden, 1935-) Untitled. Signed Ulrik Samuelson and dated -01 verso. Oil on canvas 140 x 140 cm. Provenance: Acquired directly from the artist by the present owner.
Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360 (d)
382. Roger Risberg (Sweden, 1956–2011) ‘En svängom i kokvrån’. Signed and dated R.R. Roger Risberg 1996 verso. Oil on canvas 55 x 46 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
383. Sten Eklund (Sweden, 1942–2009) ‘In i W:s landskap’. Painted acrylic glass 43.5 x 57.5 cm. Provenance: Galleri Sten Eriksson, Norrköping. Private Collection, Sweden. Literature: Galerie Aronowitsch, exhibition catalogue for Sten Eklund: Pictures, 1968, compare depicted ‘In i Ws landscape’.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
384. Astrid Sylwan (Sweden, 1970-) ‘Rustle’. Signed Astrid Sylwan and dated 2011 verso. Canvas 130 x 120 cm. Provenance: Galleri Mårtenson & Persson, Båstad. Acquired in 2011. Dan-Ola and Ann Christine Larsson Collection. Literature: Thomas Millroth och Filippa Arrias, “KONSTEN - en del av livet, Dan-Ola och Ann Christine Larsson”, 2016, illustrated full page p. 117.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
385. Jesper Waldersten (Sweden, 1969-) ‘Parrallellum’. Signed Waldersten. Executed in 2018. Oil on cardboard 120 x 89 cm. Provenance: Acquired directly from the artist by the present owner.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
Torsten Andersson, ‘Monument med droppe av blått blod. Den kreativa människans blod II’ Susanna Slöör, art critic and writer, wrote about the exhibition at Brändström & Stene in 2006/2007: ‘Torsten Andersson’s (born 1926) peculiar object painting has deliberately navigated between the suffocating demands imposed on art in general and painting in particular. In connection with his return in the mid–1980s after twenty years of silence, he spoke about the importance of formulating a ’third way’ between exhausted modernism and self-negating postmodernism. The portraits of fictional sculptures that he has presented since then take shape as distinctive containers. Symbolically, one can see them as metaphors for the unfathomable content of language, humanity, and art. ’The sculpture is bleeding,’ Andersson adds as an encouraging guide to his exceptionally elusive world. The formats are large, the drawing is powerful and simply executed directly on the carelessly stretched canvases. The colors, in turn, are few and fiercely juxtaposed in their unprocessed state. Here at the exhibition, red clashes with blue in a symbolically charged encounter between the red plank and the blue drops of blood. Through snippets of text on the canvas, we learn that a plank in a Carl Larsson painting is the starting point for several of the latest paintings on display at Brändström & Stene. The ’Falun red’ backyard is colored blue by a blood-colored shadow. It is the true color of the ’creative person’s blood’, of which a drop is worth a monument in itself, according to another painting. The creative person’s torment is then revealed as the blood is filtered through a blood vessel equipped with a knife ’like in a Swedish meat grinder’. One can assume that the exaggerated rhetoric should not be interpreted too literally and therefore does not imply that the artist is particularly noble or more thin-skinned than anyone else, but rather that the symbolism is more of a nonsensical nature. The signs simply fit well into the form.’
386. Torsten Andersson (Sweden, 1926–2009) ‘Monument med droppe av blått blod. Den kreativa människans blod II’. Signed Torsten verso. Executed in 2006. Oil on canvas 150 x 130 cm. Provenance: Brändström & Stene, Stockholm. Exhibitions: Brändström & Stene, Stockholm, ‘Torsten Andersson, Brändström & Stene’, 24 November 2006–7 January 2007 .
Estimate: SEK 250 000 – 300 000 / EUR 21 780 – 26 140 (d)
387. Ylva Snöfrid (Ogland) (Sweden, 1974-) ‘Xenia med kniv och snidad ask med slipsten’ (‘Xenia with knife and carved box with grindstone’). Signed Ylva Ogland and dated 2009 verso. Oil on canvas 47 x 38 cm. Provenance: Fruit and Flower Deli, Stockholm. Literature: Bonniers Konsthall och Silvana Editoriale, ed. Sara Arrhenius and others, ‘ Ylva Ogland, She, an introduction’, Stockholm, 2015, illustrated p. 178.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
388. Marie-Louise Ekman (Sweden, 1944-) ‘Min syster och jag’. Signed M.L Ekman and dated 2006. Acrylic and mirror on canvas 36 x 51.5 cm. Estimate: SEK 35 000 – 40 000 / EUR 3 050 – 3 490 (d)
389. Anders Krisár (Sweden, 1973-) ‘The Birth of Us (girl)’.
390. Anders Krisár (Sweden, 1973-) ‘The Birth of Us (boy)’.
Signed Krisár and dated 2007 verso. Edition 1/3 + 1AP. Acrylic paint on polyester resin, fiberglass, oil paint, screw eye, steel wire, and wire lock 39 x 32 x 12 cm.
Signed Krisár and dated 2007 verso. Edition 3/3 + 1AP. Acrylic paint on polyester resin, fiberglass, oil paint, screw eye, steel wire, and wire lock 41 x 33 x 11 cm.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
391. Andreas Eriksson (Sweden, 1975-) ‘44 dagar på 4 timmar, dag 19’. Signed Andreas Eriksson and dated 2007 verso. Monotype 35.5 x 26 cm. Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050 (d)
396. Mattias Nordéus (Sweden, 1978-) Man.
397. Mattias Nordéus (Sweden, 1978-) Woman.
392. Elisabeth Frieberg (Sweden, 1977-) ‘Untitled (Eternity, Hell or Blood, Gold)’. Signed E. Frieberg and dated 2014 verso. Canvas 152 x 152 cm. Provenance: Galleri Thomas Wallner, Simrishamn. Exhibitions: Galleri Thomas Wallner, Simrishamn, ‘Dying on stage: New paintings by Elisabeth Frieberg’, 2014.
Estimate: SEK 125 000 – 150 000 / EUR 10 890 – 13 070 (d)
393. Helene Billgren (Sweden, 1952-) ‘Eland’. Signed Helene Billgren verso. Executed in 2015. Acrylic on panel 40 x 40 cm. Provenance: Galleri Magnus Karlsson, Stockholm. Exhibitions: Liljevalchs konsthall, Stockholm, ‘faran är över’, 11 October - 8 December 2019. Literature: Liljevalchs konsthall, Stockholm, ‘Mina 100 favoriter, Helene Billgren’, 2019, illustrated fullpage p. 121.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
394. Björn Wessman (Sweden, 1949-) ‘Vomb’. Signed Björn Wessman and dated 2007 verso. Canvas 170 x 225 cm. Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
395. Jens Fänge (Sweden, 1965-) ‘The Inner Wedding’. Signed Jens Fänge. Mixed media and assemblage on panel 100 x 60.5 cm. Including frame 112 x 73 cm. Provenance: Galleri Magnus Karlsson, Stockholm. William Doyle, New York, ‘Doyle+Design: Session II’, 8 December 2022. Private Collection, Sweden. Exhibitions: Galleri Magnus Karlsson, Stockholm, Frieze New York, 14–17 May 2015.
Estimate: SEK 175 000 – 200 000 / EUR 15 250 – 17 430 (d)
396. Mattias Nordéus (Sweden, 1978-) Man. Signed M. Nordéus and dated 2010. Painted wood. Height 36 cm, width 35 cm. Provenance: Acquired directly from the artist by the present owner around 2010.
Estimate: SEK 18 000 – 20 000 / EUR 1 570 – 1 750 (d)
397. Mattias Nordéus (Sweden, 1978-) Woman. Signed Nordéus. Painted wood, metal hinges, magnets. Height 51 cm. Provenance: Acquired directly from the artist by the present owner in the early 2000s.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
Gunnel Wåhlstrand, ‘Lindholmen’ Gunnel Wåhlstrand is currently presenting a solo exhibition at Gallery Andréhn-Schiptjenko, 28 September – 12 November 2023. Ever since her graduation exhibition at Gallery Mejan (Royal Institute of Art), she has immersed herself in black and white photographs taken by her father. Through her careful study of the subject, Wåhlstrand succeeds in penetrating the images both physically and psychologically. Based on her studies of the composition, colours and context of the image, she transfers the photograph to an enlarged ink wash. ‘Lindholmen’ was included in the aforementioned 2003 degree exhibition. Wåhlstrand’s degree project consisted of six works that she had worked on daily for two years. Three of these works are now part of the collection at Magasin 3, Stockholm. Wåhlstrand is also represented at Moderna Museet in Stockholm, Malmö Art Museum and Uppsala Art Museum. ‘Lindholmen’ is the second or third work in a production that today, 20 years later, consists of only 50 works. The painting is executed in black ink and sepia on watercolour paper in a timeconsuming process in which the ink is applied in thin layers and the motif is controlled with the help of ink in different intensities and different pressures in the brushwork. The bright areas must be protected and saved. One small mistake and the work must be discarded and started again. The model for ‘Lindholmen’ is a photograph probably taken by the artist’s father in the 1960s. Wåhlstrand says that this particular photograph has always been in the family, it was in the box she had as a child. She remembers that during the process of creating the work, she accidentally tipped the ink bottle all over the sky and that she thought long and hard about whether or not chance should be involved in the final result. She eventually decided to try to stay as close to the original photograph as possible, adding nothing deliberate or random. She started again.
398. Gunnel Wåhlstrand (Sweden, 1974-) ‘Lindholmen’. Signed Gunnel Wåhlstrand verso. Executed in 2002. Black ink and sepia on paper 171 x 108 cm. Exhibitions: Kungliga Konsthögskolan, Galleri Mejan, Stockholm, 2003. Literature: David Neuman and others, Andréhn-Schiptjenko, ‘Gunnel Wåhlstrand’, 2013, illustrated. Gunnel Wåhlstrand and others (ed.), Magasin III, ‘Gunnel Wåhlstrand’, 2017, illustrated.
Estimate: SEK 1 000 000 – 1 500 000 / EUR 87 110 – 130 670 (d)
399. Klara Kristalova (Sweden, 1967-) ‘En annan hästflicka / Another Horse Girl’. Signed K Kristalova. Executed in 2012. Glazed stoneware, length 55, width 33, height 27 cm. Provenance: Galleri Magnus Karlsson, Stockholm. Exhibitions: Galleri Magnus Karlsson, Stockholm, ‘Intermezzo’, 26 March - 2 May 2020.
Estimate: SEK 70 000 – 90 000 / EUR 6 100 – 7 840 (d)
400. Anders Knutsson (USA, 1937-) ‘#6’. Signed Anders Knutsson and dated 2018 verso. Canvas 178 x 133 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490
401. Mari Rantanen (Finland, 1956-) ‘Meeting Place III’. Signed Mari Rantanen verso. Executed 2003. Canvas, diptych total 60 x 100 cm. Provenance: Andréhn-Schiptjenko, Stockholm. Private Collection, Stockholm.
Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620 (d)
402. Helene Billgren (Sweden, 1952-) ‘Barnvagn ute’. Executed in 2019. Charcoal on paper 45 x 32 cm. Exhibitions: Liljevalchs konsthall, Stockholm, ‘faran är över’, 11 October – 8 December 2019.
Estimate: SEK 12 000–15 000 / EUR 1 060–1 320 (d)
403. Filippa Barkman (Sweden, 1983-) ‘Carry’. Executed in 2007. Coloured pencil on paper 70 x 50 cm. Provenance: Mirai Projects, Stockholm.
Estimate: SEK 18 000 – 20 000 / EUR 1 570 – 1 750 (d)
404. Jan Håfström (Sweden, 1937-) ‘Brevet’. Signed Jan Håfström and dated 2003. Diptych. Panel 120 x 180 cm in total. Provenance: Galleri Andreas Brändström, Stockholm.
Estimate: SEK 175 000 – 200 000 / EUR 15 250 – 17 430 (d)
405. Johannes Heldén (Sweden, 1978-) ‘The Expanse I’. Executed in 2013. Paper collage, plexi and wood 70 x 120 cm. Provenance: Stene Projects, Stockholm. Exhibitions: Varbergs konsthall, ‘After the Rain’, 19 September 2020–3 January 2021.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
406. Jockum Nordström (Sweden, 1963-) Untitled. Signed Jockum and dated 1996 on verso. Panel 42 x 30 cm. Provenance: Bukowski Auktioner, Stockholm, ‘Contemporary Art & Design 615’, 9 April 2019, lot no. 92. Private Collection, Stockholm.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
407. LG Lundberg (Sweden, 1938-) ‘Utanför Kymmendö (Hemsö)’. Signed LG Lundberg and dated 1998. Oil on canvas 130 x 97 cm. Provenance: Konsthallen Hishult. Acquired in 2004. Dan-Ola and Ann Christine Larsson Collection. Literature: Thomas Millroth och Filippa Arrias, “KONSTEN - en del av livet, Dan-Ola och Ann Christine Larsson”, 2016, illustrated full page p. 79.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
408. Astrid Sylwan (Sweden, 1970-) ‘Black, Grey, Broken Sky and Palest Blue III’. Signed Astrid Sylwan and dated 2010 verso. Canvas 60 x 50 cm. Provenance: Vargåkra Konsthall. Acquired in 2010. Dan-Ola and Ann Christine Larsson Collection Literature: Thomas Millroth och Filippa Arrias, “KONSTEN - en del av livet, Dan-Ola och Ann Christine Larsson”, 2016, illustrated full page p. 115.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
Bigert & Bergström, ‘Reverse Osmosis Plant’ The artist duo Mats Bigert and Lars Bergström are constantly on the move with their work, which is based on the climate crisis and the research on it. In their popular exhibition 'The Drought', salt is the starting point. The exhibition is based on two different trips, to the ancient salt reservoir Margherita di Savoia in Italy and to a seawater desalination plant outside Barcelona, Spain. The exhibition 'The Drought' included the auction's work 'Reverse Osmosis Plant'. The work contains images of a Spanish desalination plant mounted on an imaginary molecule and is a typical Bigert & Bergström work. Axel Andersson writes for konsten.net in November 2013; ‘A project about salt and water, The Drought, forms the second part of the artist duo Bigert & Bergström's eschatological odyssey that began last year with The Storm. The three remaining parts have equally fitting epic titles: The Freeze, The Flood and The Light. In concrete terms, Bigert & Bergström's work is characterized by a disarming literality. Photographs of salt, sea and factories have been mounted in crystals, molecules and as flat dioramas where photos, meteorological signs and spherical molecules are depicted on three layers of glass. The imagery's references span an exciting field from the sublime nature of Romanticism to an exterior documentation of factories in the spirit of Bernd and Hilla Becher, and factory interiors that recall, in a curiously reversed order, the architects Renzo Piano and Richard Rogers Centre Pompidou in Paris. All this forms a world deceptively free from man.’ In connection with the exhibition at Varbergs konsthall in 2014, Martin Erlandsson writes in Hallands Nyheter; ‘For over 20 years, Mats Bigert and Lars Bergström have been interested in how modern technology can affect the earth and its climate, and the ideas that exist about being able to create new utopian worlds when our own living environment collapses - for example on the planet Mars. - The theme of doom is in the background, in this project through the drought, but we are not artists who romanticize disaster, says Lars Bergström. In salt as a spice, a symbol of thirst and contamination of fresh water, they have found a contradiction to depict. Through photographs that provide a 360-degree view in globes mounted like a molecule, an energy-hungry desalination plant in Barcelona is shown, while the images of sea salt production in Italy are shown in the form of crystals.’
409. Bigert & Bergström (Mats Bigert, Lars Bergström) (Sweden) ‘Reverse Osmosis Plant’. Executed in 2013. UV-printed photographs on vinyl foil, acrylic spheres, LED bulbs and cable with accompanying podium. Height including podium 172 cm. Measurements sculpture: 100 x 128 x 96 cm. Provenance: Belenius Gallery, Stockholm. Exhibitions: Castle of Barletta, Italy, 2013. Contexts, Paris, ‘The Drought/La sécheresse’, September - October 2013. Belenius Gallery, Stockholm, ‘The Drought’, 9 November - 12 December 2013. Varbergs konsthall, ‘The Drought’, 18 January - 30 March 2014. Artipelag, Stockholm, ‘Eye of the Storm’, 27 October 2017 - 25 February 2018.
Estimate: SEK 125 000 – 150 000 / EUR 10 890 – 13 070
410. Marie-Louise Ekman (Sweden, 1944-) ‘En skuggdam som målar en vän’. Signed M.L De Geer Bergenstråhle and dated 1975. Oil and assemblage on canvas in plexi box 28 x 36.5 cm. Provenance: A gift from the artist to the present owner. Exhibitions: Moderna Museet, Stockholm, Sweden, ‘Marie-Louise Ekman’, 17 June - 17 September 2017. Literature: Max Ström, Moderna Museet, ‘Marie-Louise Ekman’, 2017, illustrated p. 263.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
411. Marie-Louise Ekman (Sweden, 1944-) ‘Uccello malato con becco giallo (smooth)’. Signed ML Ekman and dated 2002. Numbered 8/8. Glass. Length 35 cm, height 10 cm. A signed certificate published by Berengo Fine Arts accompanies the lot. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
412. LG Lundberg (Sweden, 1938-) ‘Stängsel’. Signed LG Lundberg verso. Oil on canvas 104 x 84 cm. Provenance: Acquired from the artist by the present owner.
Estimate: SEK 70 000 – 90 000 / EUR 6 100 – 7 840 (d)
413. Lena Cronqvist (Sweden, 1938-) ‘Father and girl’. Signed Lena Cronqvist and dated 93. Canvas 56 x 44 cm. Exhibitions: Göteborgs konstmuseum, ‘Lena Cronqvist. Retrospektivt. Måleri skulptur teckningar’, 22 oktober – 30 november 1994.
Estimate: SEK 80 000 – 90 000 / EUR 6 970 – 7 840 (d)
414. Carl Johan De Geer (Sweden, 1938-) ‘Vägra Vapen’. Signed Carl Johan de Geer and dated 67. Unique. Pencil and ball point pen on screenprint 72 x 48.7 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
415. Ola Billgren (Sweden, 1940–2001) Untitled. Signed Ola Billgren, executed in 1962. Canvas 77.5 x 96.5 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360 (d)
John-E Franzén, ‘Flicka med gula armar’ On 4 April 1964, John-E Franzén made his debut on the gallery scene. It took place at Galleri Surbrunn in Stockholm with the exhibition ‘Just nu’ together with fellow artists Ulf Wahlberg, Göran Östergren, Ian Hellström and Lars Hillersberg. Starting in 1963, Franzén had experimented with various motifs inspired by American pop art and popular culture. Franzén was fascinated early on by young Californian subcultures, where cars were converted into custom cars or hot rods and motorcycles into choppers. Just a few years after painting ’Flicka med gula armar’ (Girl with Yellow Arms), he left for the United States, where he lived and worked from 1966–68. His debut exhibition included the well-known painting ’Sanningen om Texas Rose I’. Already at this time, Franzén worked in series where the same motif was repeated in several different variations with slight changes in expression and technique. Franzén had made four variations of the motif, including one entitled ‘Viva Las Vegas’, executed in 1963, when the inspiration for the paintings actually came from a poster for the film ‘Viva Las Vegas’ starring a 28-year-old Elvis Presley and the beautiful Ann-Margret. The auction’s painting, ’Flicka med gula armar’ also exists in another version from 1964, namely ‘Flicka med gula strumpor’ (Girl with Yellow Stockings), a simpler and much smaller sketch with acrylic and pencil on paper. Franzén’s series of female motifs is as close as one can get to Swedish pop painting and reflects the time when they were created both in terms of choice of motif and technique. The works are both depictively realistic and fluidly painterly, something that characterises Franzén’s paintings of women from the 1960s. Unlike much of pop art, Franzén’s painting has a strong sensuality, as well as a sensitivity and softness that exudes care and humility, whether the subject is an erotically posing woman or a polished motorbike in a deserted backyard. In connection with the travelling exhibition ‘Ung Generation’, Franzén made headlines in the newspapers when some people considered his depictions of women to be too challenging. The artist himself stated in an interview with Aftonbladet on 2 February 1965 that: ‘Erotic painting has old traditions. I regard my paintings as a tribute to something I find beautiful’. ‘Flicka med gula armar’ is a rare representative of a revolutionary time, both in the world of art and in the artist’s life, and its rich exhibition history testifies to its central place in the artist’s production.
416. John-E Franzén (Sweden, 1942–2022) ‘Flicka med gula armar’. Signed John-E Franzén and dated 1963. Canvas 124 x 90 cm. Provenance: Acquired directly from the artist. Ian Hellström Collection. Bukowskis, Stockholm, Contemporary Art & Design 570, November 2012, lot no. 253. Private Collection, Stockholm. Exhibitions: Göteborgs Konstmuseum, ‘John-e Franzén’, 11 February - 2 April 1978, cat. no 14. Jönköpings Läns Museum, ‘John-E Franzén - fyra decennier’, 1 June – 18 August 1996, cat. no 3. Lunds Konsthall, ‘John-E Franzén - fyra decennier’, 31 August – 13 Oct(…). Literature: Ulf Linde och Douglas Feuk, ‘ John-E Franzén’, 1996, reproduced full page in colour page 22.
Estimate: SEK 375 000 – 400 000 / EUR 32 670 – 34 850 (d)
417. Marie-Louise Ekman (Sweden, 1944-) ‘Skrivande fågel’. Signed M.L Ekman and dated 1999. Acrylic, hair, feather and bird on canvas 30.5 x 50 cm. Provenance: Galerie Aronowitsch, Stockholm. Exhibitions: Galerie Aronowitsch, Stockholm, ‘Marie-Louise Ekman’, September 1999.
Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360 (d)
418. Sten Eklund (Sweden, 1942–2009) ‘Geologisk karta från Kullahusområdet’. Signed SE and dated 72. Numbered 13. Glass painting 20.8 x 27,9 cm. Provenance: Galerie Aronowitsch, Stockholm. Galerie Belle, Västerås.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
419. Barbro Östlihn (Sweden, 1930–1995) ‘Fuller II’. Signed Östlihn and dated 1988 verso. Oil on canvas 96 x 96 cm. Provenance: Galerie Aronowitsch, Stockholm. Exhibitions: Galerie Aronowitsch, Stockholm, October 1988.
Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
420. LG Lundberg (Sweden, 1938-) ‘Sista bilden’. Signed LG Lundberg and dated 1967. Canvas 99 x 90 cm. Estimate: SEK 35 000 – 40 000 / EUR 3 050 – 3 490 (d)
Ola Billgren, ‘Porträtt av Sven Henrysson ’ The portrait of the artist’s friend Sven Henrysson is part of a series of portraits created during an important transitional phase in Ola Billgren’s painting around 1970. They depict scenes from his own life, from the summers in the house in Skåne, with family and close friends portrayed in different moods. He works with light and shadow, sometimes from a room with a view of a lush garden, sometimes with a room in shadow with reflections of sunlight as the only source of light. The series of portraits and self-portraits are unique in that they were created during a period of calm ‘in the eye of the storm’ ahead of Billgren’s painting entering a new phase. Billgren’s artistic career undergoes several metamorphoses. Early works from the 1960s can be called abstract with a strong interest in details as realistic points in the image. Around 1963, he began painting photorealistically, and he made his breakthrough in 1966 in an exhibition at Galleri Karlsson in Stockholm. Ola Billgren’s realism has both art historical and literary references, which he clearly marks in his writings, referring to older painters such as the 17th-century Dutch master Vermeer van Delft, but also to his contemporaries, including Jan Håfström. Film was an important source of inspiration. Outwardly, at the end of the 60s, he was an extremely successful young artist, whose work was praised by both critics and the general public. But for himself, he felt increasingly diminished by the ‘new realist’ idiom and the 1960s program that characterized his art. Billgren describes how the development of modern art in the 1960s was powerless in the face of the pulsating flow of iconographic signs: photographs, advertisements, traffic signs, posters, abstract artworks, and comic books. He felt that he had lost touch with himself in his pursuit of ‘objective’ art. Ola Billgren now enters a phase in his painting that will largely continue for the rest of his life. He breaks with photorealistic painting and seems to have given up the belief in the existence of an ‘objective’ painting. Instead, he allows his brush to become freer, and the color will also take on tones that relate his images to the chromatic melancholy that can be found in landscape and cityscape paintings in European art around the turn of the century. The portrait of the friend Sven Henrysson was painted during the transition between the early extreme realistic painting and the less representational painting that culminates in the red period. The portraits created during this time are characterized by tenderness and melancholy, a more traditional style of portrait painting with the individual in focus. In the current work, Sven Henrysson is captured by the artist, deeply lost in his own thoughts. The wall behind is a muted earth color, and the sparse light falling on Sven Henrysson’s face, is reflected in the shiny surface of the brass dish on the wall. The dish is a not only symbol of the model’s interest in art and antique works of art, but also a reference to the old Dutch masters. Billgren has described the portraits created during this period in the 1970s as a kind of ‘atonement’ for his insensitive vision and fragmented view of humanity of the 1960s.
421. Ola Billgren (Sweden, 1940–2001) ‘Portrait of Sven Henrysson’. Signed Ola Billgren and dated -74 verso. Oil on canvas 54 x 69 cm. Exhibitions: ‘Neuer Realismus aus Schweden’, Bonn, Nürnberg, Dortmund, and Lübeck, 1975. ‘Farväl realism! (Neuer Realismus aus Schweden)’, Malmö konsthall, Malmö 10 December 1975 – 25 January 1976, cat. no 13. Literature: Exhibition catalogue, ‘Neuer Realismus aus Schweden’, Ausstellungskomitee: die beteiligten Künstler (Lars Kleen …), Malmö 1975. Illustrated p. 22.
Estimate: SEK 300 000 – 400 000 / EUR 26 140 – 34 850 (d)
422. Lars Lerin (Sweden, 1954-) Motif from Lofoten. Signed Lars Lerin and dated 2000. Watercolour on paper 75.5 x 56.5 cm. Estimate: SEK 175 000 – 200 000 / EUR 15 250 – 17 430 (d)
423. Lisa Jonasson (Sweden, 1978-) ‘Pånyttfödd nu igen’.
424. Johanna Karlsson (Sweden, 1968-) ‘Scen V’.
Signed Lisa Jonasson and dated 2012 on label verso. Collage of paper cutouts (vinyl paint on paper), 50 x 65 cm.
Signed Johanna Karlsson on label verso. Executed in 2020. Plaster, paper, pigment, metal wire, oak and artglass 42 x 59 x 18 cm.
Provenance: Galleri Magnus Karlsson, Stockholm.
Provenance: Galleri Magnus Karlsson, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
425. Maria Miesenberger (Sweden, 1965-) ‘Reflection on the Presence of Time (Decay) #7’. Signed MM and dated 2013/19. Edition 1/5. Patinated bronze and valchromat, linseed burnt steel podium. Total height 162 cm. Provenance: Anna Bohman Gallery, Stockholm. Exhibitions: Anna Bohman Gallery, Stockholm, ‘Maria Miesenberger - Unfold’, 16 January – 16 February 2020.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
426. Jens Fänge (Sweden, 1965-) ‘Sommarlovet’. Signed Jens Fänge and dated 2009–2011 verso. Oil on canvas 110 x 100 cm. Provenance: Galleri Örsta, Kumla. Exhibitions: Galleri Örsta, Kumla, ‘Jens Fänge, Johanna Karlsson och Mikael Olsson’, 10 September – 9 October 2011.
Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
427. Rolf Hanson (Sweden, 1953-) ‘Auenlou’. Signed Rolf Hanson and dated 1992 verso. Oil on panel 120 x 128 cm including frame. Provenance: Galleri Björn Bengtsson, Varberg. Exhibitions: Rooseum, Malmö, ‘Rolf Hanson’, 1995. Litteratur: Rooseum, Malmö, ‘Rolf Hanson’, 1995, illustrated full page in the catalogue and listed in the catalogue p. 112.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
428. Withdrawn.
428A. Jockum Nordström (Sweden, 1963–) ‘The Band Stand’. Signed Jockum and dated -01. Mixed media and collage on paper 61.5 x 87.5 cm. Provenance: Sveriges Allmänna Konstförening, Stockholm. Bukowski Auktioner, Stockholm, ‘Höstens Contemporary 588’, 2015, lot. no. 291. Private Collection, Stockholm. Litteratur: David Zwirner/Galleri Magnus Karlsson, Jockum Nordström, ‘Between the Table and the Legs: Mellan bordet och benen’, 2003, illustrated.
Estimate: SEK 250 000 – 300 000 / EUR 22 300 – 26 700 (d)
429. Andreas Eriksson (Sweden, 1975-) ‘Mullvadshög’. Signed AE. Bronze. Height approx. 7 cm, diameter 35 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360 (d)
430. Jesper Waldersten (Sweden, 1969-) ‘Dekadenserna’. Signed Waldersten. Canvas 176 x 262 cm. Provenance: Aquired directly from the artist by the present owner.
Estimate: SEK 125 000 – 150 000 / EUR 10 890 – 13 070 (d)
431. Per Mårtensson (Sweden, 1969-) ‘Untitled’, from the series ‘Elevator Paintings’ (Elevator paintings). Signed Per Mårtensson and dated 2013 verso. Canvas 50 x 40 cm. Provenance: Galleri Thomas Wallner, Simris.
Estimate: SEK 18 000 – 20 000 / EUR 1 570 – 1 750 (d)
432. Peter Frie (Sweden, 1947-) ‘Landskap’. Signed P. Frie and dated -96 verso. Oil on canvas laid on panel in artist’s frame 180 x 120 cm. Provenance: Galleri Lars Bohman, Stockholm. Acquired in 1996.
Estimate: SEK 120 000 – 140 000 / EUR 10 700–12 500 (d)
433. Rolf Hanson (Sweden, 1953-) ‘Otauna’. Signed and dated Rolf Hanson -90 verso. Oil on panel 100 x 122 cm. Estimate: SEK 125 000 – 150 000 / EUR 10 890 – 13 070 (d)
Helene Billgren, ‘sk askunge lämnar hus’ The painting ‘fd askunge lämnar hus’ was exhibited at what would become Helene Billgren’s breakthrough exhibition at Angelika Knäpper Gallery in Stockholm in the spring of 2009. She describes her paintings in her book ‘Den andra vägen’ (The Other Way), 2011: ‘I don’t like to paint faces, eye eye nose mouth. It’s almost impossible for me to capture both sadness and joy in an expression. Instead, I try to create that through other means, like having the hair flying or not. Additionally, I like to distort the body slightly. For example, I often remove
the arms, but removing an eye hasn’t worked so far, unless I cover it with bangs or something more natural like that. It’s not good if the colour looks too normal. That’s an opinion I have in everyday life as well. My favorite figure is someone between Snow White and a señorita, both with black hair. It’s an image from my memory archive.’
434. Helene Billgren (Sweden, 1952-) ‘sk askunge lämnar hus’. Signed Helene Billgren and dated 08 verso. Acrylic on mdf 61 x 61 cm. Provenance: Angelika Knäpper Gallery, Stockholm.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
Ola Billgren, ‘Kvinnofigur i landskap’ Billgren’s paintings are characterized by duality and ambiguity, both in expression and content, and the dreamlike presence is unmistakable. The technique emphasizes this by always moving between the borderland of the realistic and the abstract - where the two opposites define Billgren as an artist. The current catalogue number ‘Female Figure in Landscape’ from 1994 shows exactly the elements that we recognize from the red period where we see in the background a strongly reduced but still recognizable image of a female figure.
435. Ola Billgren (Sweden, 1940–2001) ‘Kvinnofigur i landskap’. Signed Ola Billgren and dated -94 verso. Oil on canvas 156 x 100 cm. Provenance: Stockholms Auktionsverk, Moderna Kvalitén, 4 May 2010.
Estimate: SEK 400 000 – 500 000 / EUR 34 850 – 43 560 (d)
436. Lars Lerin (Sweden, 1954-) ‘Vinterresa’. Signed Lars Lerin and dated 2009. Watercolour on paper 75 x 50 cm. Estimate: SEK 150 000 – 200 000 / EUR 13 070 – 17 430 (d)
437. Ernst Billgren (Sweden, 1957-) ‘Familj i skogen’. Oil on panel in artist’s frame 174.3 x 133.8 cm. Exhibitions: Helsingin Taidehalli, Helsinki.
Estimate: SEK 125 000 – 150 000 / EUR 10 890 – 13 070 (d)
438. Mikael Richter (Sweden, 1963-) ‘Allt kommer att bli bra’. Signed Mikael Richter. Vinyl on aluminum, steel tube, cast concrete base. Height 200 cm. Provenance: Tom Böttiger Collection. CF Hill, Stockholm, 2019. Private Collection, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
439. Klara Kristalova (Sweden, 1967-) Untitled. Signed K Kristalova and dated 2014. Watercolour on paper 25 x 25 cm. Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620 (d)
Wilhelm von Kröckert /Ernst Billgren, ‘Kvinnostaden’ The auction's painting ‘Kvinnostaden’ created by Ernst Billgren under the pseudonym Wilhelm von Kröckert was exhibited at Lars Bohman Gallery in 2015. It was at the exhibition ‘Wilhelm von Kröckert: Original Pictures’ that Billgren made his debut as Wilhelm von Kröckert with great media attention. In connection with the exhibition, Billgren wanted to investigate whether all the attention surrounding his persona and paintings is related to his own brand, or whether it has to do with the actual art he creates. Billgren decided to change his name, and for the much-publicized 2015 exhibition, he didn't let himself be inspired by anyone, didn't use the internet or other sources, and all the paintings are improvised directly from his own mind. The auction's painting ‘Kvinnostaden’ was widely publicized and made the cover of Dagens Nyheter. In the painting, a pair of robot-like female bodies move through a disintegrating urban landscape in a surrealist dream world. The composition is classically structured with a central figure that creates the deep perspective of the painting. ‘Kvinnostaden’ was also one of the paintings selected to be shown at Borås Konstmuseum in Ernst Billgren's major retrospective ‘Ernst Billgren vs Wilhelm von Kröckert’ in 2017.
440. Wilhelm von Kröckert /Ernst Billgren (Sweden, 1957 -) ‘Kvinnostaden’. Executed in 2015. Mixed media on mdf in artist’s fram 133 x 147 cm. Provenance: Lars Bohman Gallery, Stockholm. Exhibitions: Lars Bohman Gallery, Stockholm, ‘Wilhelm von Kröckert: Original Pictures’, 28 March - 3 May 2015. Borås Konstmuseum, ‘Ernst Billgren vs Wilhelm von Kröckert’, 17 September 2016–15 January 2017. Literature: Lars Bohman Gallery, ‘Wilhelm von Kröckert, Originalmålningar/Original Pictures’, illustrated full page p. 39 and details p. 40–43.
Estimate: SEK 250 000 – 300 000 / EUR 21 780 – 26 140 (d)
441. Alfred Boman (Sweden, 1981-) ‘Reptilian Law’. Signed Alfred Boman and dated 2014 verso. Mixed media on canvas in artist’s frame 117.5 x 90.5 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
442. Ilja Karilampi (Sweden, 1983-) ‘Khard UUUU’. Signed Ilja Karilampi and dated 2018 verso. Red vinyl on mirror 132 x 96 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
443. Dan Wolgers (Sweden, 1955-) Untitled. Signed Dan Wolgers and dated 1993. Mixed media on paper in acrylic frame 38 x 40.8 x 5 cm. Provenance: Stockholm Art Fair.
Estimate: SEK 10 000 – 12 000 / EUR 880 – 1 050 (d)
444. Ernst Billgren (Sweden, 1957-) ‘Abstrakt bord 2’. Signed EB and numbered 3/3-I. Executed in 2012. Table with intarsia and bronze sculptures 99 x 138 x 31. Exhibitions: Lars Bohman Gallery, Stockholm, ‘Abstrakt’, 24 March - 6 May 2012. Literature: Lars Bohman Gallery, ‘Ernst Billgren Abstrakt’, 2012, illustrated on p. 48–51.
Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
445. Claes Eklundh (Sweden, 1944-) Profile. Signed CE. Oil on canvas 239 x 137 cm. Provenance: Galleri Bengt Adlers, Malmö. Fredrik Roos Collection. Stockholms Auktionsverk, ‘Fredriks Roos nordiska samling från Rooseum’, 27/9 2006, lot no. 224. Private Collection, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
446. Per Fhager (Sweden, 1980-) ‘Rainbow Islands’. Signed PF a tergo. Executed in 2023. Double gobelin stitch and wool 78 x 122 cm. Provenance: Stene Projects, Stockholm.
Estimate: SEK 30 000 – 35 000 / EUR 2 620 – 3 050 (d)
447. Björn Wessman (Sweden, 1949-) ‘Papuan Boathouse’. Signed Björn Wessman and date 2013 verso. Canvas 140 x 200 cm. Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890 (d)
448. Rolf Hanson (Sweden, 1953-) ‘Zaukouma’. Signed Rolf Hanson and dated -89 verso. Oil on panel 83 x 122 cm. Provenance: Lars Wetterling Collection.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
449. Sigrid Sandström (Sweden, 1970-) ‘Untitled’. Signed Sigrid Sandström and dated 2012 verso. Acrylic on panel 25.5 x 20.5 cm. Provenance: Inman Gallery, Houston, USA. Galleri Thomas Wallner, Simris.
Estimate: SEK 16 000 – 20 000 / EUR 1 400 – 1 750 (d)
450. Fruls Tilpo (Sweden, 1960-) ‘Tredje bänk höger’. Signed Fruls Tilpo and dated 1999 verso. Oil on canvas 140 x 180 cm. Provenance: Lars Bohman Gallery, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
451. Ola Billgren (Sweden, 1940–2001) Untitled. Certified by Claus Leger verso. Executed in 2001. Oil on canvas 73 x 94 cm. Provenance: Artist’s family.
Estimate: SEK 300 000 – 400 000 / EUR 26 140 – 34 850 (d)
Ola Billgren, Untitled ‘We made a longer trip to Italy in 1995. We traveled to Pompeii, we visited Tivoli and Villa d’Este. Ola photographed a lot during the whole trip. Once back home, he took the pictures and let them inspire him in his painting,’ says Anita Nilsson Billgren. The trip and the impressions resulted in an exhibition at Susanne Ottesen’s in Copenhagen. The exhibition was called ‘Ola Billgren, Maleri Fotogravure’ and the paintings testified to the importance of the journey and the importance of the impressions Ola Billgren brought back to Sweden. Behind the artist’s abstract surfaces, classical idioms, architectural details such as loggias and temple gables, and sculptures with their antiquated appearance were reminiscent of ancient Italy. For Ola Billgren, the photographic image had always been important to his working process. In the 1960s, when his art reproduced his immediate surroundings with photorealistic clarity, inspiration came from film and literature, the illustrated press and contemporary everyday life. In the 1970s, Billgren moved on to freer painting and was able to explore the possibilities and conditions of painting with greater artistic freedom. He had now become an established artist who exhibited around the world and represented Sweden at the Venice Biennale in 1971. Billgren’s almost academic and almost scientific approach to painting meant that he never stopped. Seeking the challenge, the 1980s broke with the myopia of the earlier years in his choice of subjects and now the artist looked out over cities and cityscapes, both from the perspective of the pedestrian and from the tops of cathedrals, in cities across Europe. Breathtaking perspectives and silhouettes unfolded before the viewer who was offered a journey from the spire of Cologne to Braubach and Seville in the artist’s various, often monumental, canvases. The red color broke through and from merely dancing over the surface, the color spread out over the canvases and Billgren created in the early 1990s almost monochrome paintings, where the motifs under layers of color could be sensed in the background. The photographic image was still important as a model and inspiration, but the painterly effects of color on the canvas were given increasing weight and thus carried Billgren’s painting forward. Ola Billgren has been called both a theorist and a sensualist, and in his works he managed to capture the historical and the contemporary in one and the same image. Billgren’s paintings are characterized by both duality and ambiguity, both in expression and content, and the dreamlike presence is unmistakable, from the photorealistic works of the 1960s to the romantic approach of late painting. ‘Ola Billgren’s realism often gives precisely this impression of wanting to hold on or stand against time.’ Douglas Feuk writes this on page 61 of the large book ‘Ola Billgren, Måleri - Paintings’ (2000). He writes it in relation to Billgren’s paintings from the 1960s, and describes the paintings as showing stagnant hospital corridors or messy living rooms, far away from the noise of the world outside. What is interesting is that it feels equally relevant to Billgren’s late paintings. In the auction’s painting, the artist was clearly inspired by his trip to Italy a few years earlier. It was still the present and the impressions of the time that inspired him, but it was a present seen through a historical grid and moved another step away from the ‘authentic’ by using the photographic image as a model. The artist was attracted by history, by our common cultural heritage and what has shaped our image of antiquity. An initially clear painting has been given a dreamlike and suggestive tone by the artist’s careful hand, and the red and blue paint has been carefully applied to the surface in an unmistakably Billgrenian manner. The treatment of the surface makes the motif itself appear distant to the viewer and, like the stories of antiquity, which have been transformed over the centuries by human traders and eager writers, the remains of the Romans appear only as fleeting dreams to our eyes. The dream of history becomes one with the dream of life and the dream of being in the present. The painting in the auction is one of the very last paintings that Ola Billgren completed before his death and becomes for us a poetic memento mori motif that testifies to a virtuoso painter’s highly intense and relevant conversation with history.
452. Lars Lerin (Sweden, 1954-), Utan titel. Signed Lars Lerin and dated 2016. Watercolour 102 x 153.5 cm. Estimate: SEK 200 000 – 250 000 / EUR 17 430 – 21 780 (d)
453. Truls Melin (Sweden, 1958–2022) ‘Mudderverk’. Executed in 2000. Painted centafoam, wood and metal 94 x 19 x 25 cm. Provenance: Lars Bohman Gallery, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
454. Susanne Johansson (fd Simonson) (Sweden, 1969-) ‘Tidsflagor’. Signed Susanne Simonson and dated 2005 verso. Canvas 139.5 x 105 cm. Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620 (d)
455. Emm Berring (Sweden, 1983-) ‘Pelargång’. Signed Emm Berring and dated 2017 verso. Panel 50 x 70 cm. Exhibitions: Vargåkra Gård, Konsthall & Galleri, Vargåkra, Sweden, ‘Sommarutställning med måleri av Yngve Rådberg & Emm Berring’, July 2017.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
456. Ilja Karilampi (Sweden, 1983-) ‘Ebony’. Signed and dated 2015 verso. Engraved aluminum 60 x 100 cm. Provenance: Belenius/Nordenhake, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
457. Raha Rastifard (Iran, 1974-) ‘Rest in Natural Great Peace, No. 5’. Signed Raha Rastifard and dated 2021 verso. Lenticular print 125.5 x 85.5 cm including frame. Provenance: Berg Gallery, Stockholm. Exhibitions: Berg Gallery, Stockholm, ‘Raha Rastifard - Rest in natural great peace’, 19 August - 25 September 2021.
Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620
Carl Fredrik Reuterswärd, ‘Non-Violence’ Carl Fredrik Reutersvärd describes his thought behind the artwork ‘Non-Violence’ with these words: ‘Humor is the best tool we have to bring people together. When I created my peace symbol, I thought about how important it was to include some humor, just so that my ’weapon’ would become symbolically ridiculous and completely useless.’ At the Skissernas Museum in Lund, there is a sketch for the first Non-Violence sculpture where Reuterswärd noted that it was the grief after the murder of John Lennon in 1980 that inspired him to create the artwork. Since then, the sculpture has been varied in a multitude of sculpture models and drawings, becoming an international symbol for peace and non-violence. Art has always been a powerful medium for conveying emotions, ideas, and societal messages. ‘Non-Violence’ by Carl Fredrik Reutersvärd is more than just an artwork; it is a testament to the power of creativity and the indomitable will of the human spirit in the face of violence. This iconic sculpture challenges viewers to reconsider their perceptions of violence and, with humor as its weapon, reminds them of the importance of peaceful coexistence. Today, over 40 years after the sculpture was created, it continues to inspire and captivate. ‘Non-Violence’ is a symbol of hope and a call for a more peaceful world. One of the first three versions was purchased by the Luxembourg government and donated to the United Nations in 1988, where it has held its place in front of the UN headquarters in New York ever since. Today, the symbol exists as a sculpture in over 30 locations worldwide, including the Olympic Museum in Lausanne and in the park of the Chancellor’s Office in Berlin. The original bronze version is in the collections of Moderna Museet in Stockholm.
458. Carl Fredrik Reuterswärd (Sweden, 1934–2016) ‘Non-Violence’. Signed CFR and numbered 8/8 on plaquette. Executed in 2012. Patinated bronze, L 96 cm, H 65 cm. Measurements including the iron base: L 104 cm, D 32 cm and H 75 cm. Provenance: Non Violence Project Foundation. Lars Bohman Gallery. Stockholm. Private Collection, Stockholm.
Estimate: SEK 800 000 – 1 000 000 / EUR 69 690 – 87 110 (d)
459. Ernst Billgren (Sweden, 1957-) Untitled. Signed with monogram EB. Mosaic and panel 60 x 80 cm. Provenance: Lars Wetterling Collection.
Estimate: SEK 40 000 – 80 000 / EUR 3 490 – 6 970 (d)
460. Björn Wessman (Sweden, 1949-) ‘Viland’. Signed Björn Wessman and dated 1985 verso. Canvas 125 x 170.5 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
461. Jonas Silfversten Bergman (Sweden, 1991-) ‘Industrial Gates’. Signed with monogram JSB and dated 2021 verso. Canvas 28 x 20 cm. Estimate: SEK 4 000 – 6 000 / EUR 350 – 530 (d)
462. Lotta Hannerz (Sweden, 1968-) ‘Huvudvittnen’. Signed Lotta Hannerz and dated 2007 verso. Canvas 65 x 81 cm. Provenance: Knäpper+Baumgarten, Stockholm Private Collection, Stockholm. Exhibitions: Knäpper+Baumgarten, Stockholm, ‘Lotta Hannerz 110%’, 23 August - 23 September 2007.
Estimate: SEK 35 000 – 40 000 / EUR 3 050 – 3 490 (d)
463. John Würtz (Sweden, 1946-) Untitled. Signed Würtz. Mixed media on canvas 120 x 40 cm. Provenance: Galleri Kråkeslätt, Bromölla.
Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
464. Isca Greenfield-Sanders (USA, 1978-) ‘Low Tide V’. Signed and dated 2008. Watercolour on paper 19.5 x 19.5 cm. Provenance: Baldwin Gallery, Aspen.
Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750
465. Tal R (Denmark, 1967-) ‘N’. Signed Tal R. Executed in 2013. Crayon on artist made paper 40 x 28 cm. Provenance: Galleri Bo Bjerggaard, Copenhagen. Exhibitions: Louisiana Museum of Modern Art, Denmark, ‘Academy of Tal R’, 20 May - 10 September 2017.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
466. Richard Aldrich (USA, 1975-) ‘Herald Crest’. Signed and dated 2007 verso. Oil on panel 49 x 35.5 cm. Provenance: Björkholmen Gallery, Stockholm.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230
467. Niki de Saint Phalle (France, 1930–2002) ‘Mini Nana Acrobate’. Signed Niki de Saint Phalle. Pencil, crayon and acrylic on resin. Height 18.3 cm, width 18 cm, and depth 9 cm. Estimate: SEK 200 000 – 300 000 / EUR 17 430 – 26 140 (d)
468. Harvey Quaytman (USA, 1937–2002) ‘For All the Fathers’. Signed Harvey Quaytman and dated 1986 verso. From the series ‘Black Series’. Acrylic on canvas 157 x 157 cm. Provenance: Galerie Nordenhake, Stockholm.
Estimate: SEK 70 000 – 90 000 / EUR 6 100 – 7 840
469. Hunt Slonem (USA, 1951-) ‘Guardiens’. Signed Hunt Slonem and dated 91 verso. Canvas 30.5 x 31 cm. Estimate: SEK 30 000 – 35 000 / EUR 2 620 – 3 050 (d)
474. Per Kirkeby (Denmark, 1938–2018) ‘Model for Ballerup’.
470. Tania Marmolejo (Dominican Republic, 1975-) Untitled. Signed Tania Marmolejo. Executed in 2018. Oil on canvas 104 x 128 cm. Provenance: Acquired directly from the artist by the present owner.
Estimate: SEK 275 000 – 350 000 / EUR 23 960 – 30 490
471. Claudio Verna (Italy, 1937-) ‘Verticale III’. Signed Claudio Verna and dated -75 verso. Canvas 70 x 70 cm. Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
472. Yae Asano (Japan, 1914–1996) Untitled. Signed Yea Asano and dated ‘77. Pencil on paper 31 x 30.4 cm. Provenance: Japanska Galleriet, Stockholm. Acquired in 1987.
Estimate: SEK 12 000 – 15 000 / EUR 1 050 – 1 310
473. William Anastasi (USA, 1933-) ‘Utitled (Subway Drawing)’. Signed and dated 2/2/92. Ball point on envelope 24 x 32 cm. (Executed blindfolded on the subway from Uptown to Midtown NYC). Provenance: Gifted by the artist to the present owner.
Estimate: SEK 20 000 – 30 000 / EUR 1 750 – 2 620
474. Per Kirkeby (Denmark, 1938–2018) ‘Model for Ballerup’. Signed PK. Edition 5/30. Executed in 1992. Foundry mark Schmäke Düsseldorf. Patinated bronze, height 13 cm, length 33 cm, depth 7.5 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360 (d)
Per Kirkeby, ‘Vibeke, juli’ When Per Kirkeby passed away at the age of 79 in May 2018, he left behind a wealth of stunning paintings, brick and bronze sculptures, prints, drawings, texts and video works. An immensely creative and courageous artist, Kirkeby is considered Denmark’s foremost 20th century artist and has an obvious place in international art history as one of the most significant painters and sculptors in Europe. Early in his career, Kirkeby turned to pop art and then to more abstract expressionist painting. In the 1960s, his performance art linked him to famous Fluxus artists such as Joseph Beuys and Nam June Paik. His big breakthrough came in 1978 when Kirkeby participated in the Venice Biennale, where a large international audience discovered his work. Kirkeby also had a university degree in Arctic geology and took part in several research trips. This interest can be sensed in all his artistic expressions. He found his motifs in the landscape and nature. The paintings all have a strong structure, with driven brushstrokes, layers upon layers of shapes and lines that form their own topography. Kirkeby’s brick sculptures have a direct connection to the Danish soil. Using the burnt clay, he created large spatial installations on the borderline between sculpture and architecture. He kneaded the smaller sculptures out of the clay himself, the traces of his fingers still visible in the heavy bronze casts. Kirkeby had always looked up to the German Neo-Expressionists Baselitz, Penck and Immendorff, who were represented by the gallerist Michael Werner. In 1974 he made contact with Kirkeby and in the same year Kirkeby had his first exhibition at the gallery in Cologne. The consigned painting ‘Vibeke, juli’ has been exhibited at Galerie Michael Werner. Typical of Kirkeby’s 1980s are the clear references to nature and the earthy colour scales. In 1981 he began work on his abstract, rough bronze sculptures formed in clay, which recur for many years to come. At the end of 1989, he also created a series of paintings with motifs from the forest.
475. Per Kirkeby (Denmark, 1938–2018) ‘Vibeke, juli’. Signed Per Kirkeby and dated 1983 verso. Canvas 116 x 95 cm. Provenance: Galerie Michael Werner, Cologne, ‘Per Kirkeby. Bilder von 1983’, 1983. Galleri Boibrino, Stockholm. Private Collection. Exhibitions: Galerie Michael Werner, Cologne, ‘Per Kirkeby. Bilder von 1983’, 1983.
Estimate: SEK 600 000 – 800 000 / EUR 52 270 – 69 690 (d)
476. Bjarne Melgaard (Norway, 1967-) ‘Yolanda, the Penguin of Bagdad’. Signed Bjarne Melgaard. Watercolour on paper 102 x 152 cm. Provenance: Kaare Berntsen Antikviteter, Olso.
Estimate: SEK 125 000 – 150 000 / EUR 10 890 – 13 070 (d)
477. Karin Davie (Canada, 1965-) ‘Between My Eye and Heart No 23’. Signed Davie and dated 2006 verso. Canvas 153 x 122 cm. Provenance: Wetterling Gallery, Stockholm. Exhibitions: Wetterling Gallery, Stockholm, ‘The Body’s Mind’, 14 October – 25 November 2006.
Estimate: SEK 150 000 – 200 000 / EUR 13 070 – 17 430
478. William Sweetlove (Belgium, 1949-) ‘Cloned French Bulldog with Pet Bottle’. Signed and numbered 6/8. Silver-patinated bronze, height 48 cm, length 50 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
479. Iona Rozeal Brown (USA, 1966-) ‘a3#1’. Signed Iona Rozeal Brown verso. Executed in 2002. Acrylic on paper 104 x 74 cm. Provenance: Milliken Gallery, Stockholm.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230
480. Edward Kienholz (USA, 1927–1994) ‘Sawdy’. Signed Keinholz on label. Also signed EK and dated -72 on license plate. Executed in 1971–1972. Ed 12/55. Object in two parts, painted car door, fluorescent bulb with electrical socket and license plate. Height 100, width 94 and depth 18 cm. Provenance: Gemini G.E.L., Los Angeles. Private collection, Sweden. Bukowski Auktioner AB, Stockholm, auction 573, Vårens Contemporary, 14 May 2013, lot. no 488. Private Collection.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710
481. Helmut Middendorf (Germany, 1953-) ‘Dream of the Storm’. Signed Helmut Middendorf and dated Berlin 1983 verso. Canvas 230 x 190 cm. Provenance: Galleri Leger, Malmö.
Estimate: SEK 150 000 – 200 000 / EUR 13 070 – 17 430 (d)
Tal R, ‘Larsson’ Tal R (b. 1967) is perhaps Denmark's most internationally acclaimed artist of the moment. Tal R's work spans a variety of mediums, including painting, drawing, printmaking, textiles, sculpture and furniture. At only 40 years old, he exhibited at the Louisiana Museum of Modern Art in Denmark and in the summer of 2018, he had a retrospective at the same museum. Tal R has always painted in an expressionist style, sticking to a limited colour palette. The turn of the decade in 2010 saw a major shift in Tal R's artistic practice. He found himself painting decorative crosses, lines and ornaments. Tal R then decided to focus on motifs that had a clear narrative and that he could explain himself. In connection with this visual change, Tal R realized that he also needed to work with a new technique and decided to use rabbit skin glue. This is something that has been used by artists since the ancient times and cannot be experimented with in the same way as traditional oil paint. Rabbit skin glue dries quickly; therefore you need to have an idea of what the finished painting will look like. The paint is applied very thinly and flatly to the unprimed canvas. The glue colour gives the canvas a special luster and this luster has been compared to Mark Rothko's paintings. The auction's painting ‘Larsson’ is painted in just this way and represents the Swedish artist Carl Larsson. Perhaps Carl Larsson is depicted as he is the opposite of the decorative painting. Larsson's paintings have a clear narrative and is an artist that Tal R draws inspiration from. As the artist says: ‘The magic of a painting is that you are looking at everything at once. A painting is stupid, it's flat, it's weak, but in the middle of that, it's absolutely beautiful.’ Tal R exhibits both in solo and group exhibitions worldwide and has been shown in art institutions internationally and his work is included in several important collections.
482. Tal R (Denmark, 1967-) ‘Larsson’. Signed T.R, also signed Tal R and dated 2011 verso. Rabbit glue, pigment and (wax-) crayon on canvas 121.5 x 66 cm. Provenance: Galleri Bo Bjergaard, Copenhagen.
Estimate: SEK 200 000 – 250 000 / EUR 17 430 – 21 780 (d)
483. Willem de Kooning (USA, 1904–1997) ‘Untitled’. Signed de Kooning. Executed in the 1960s-1970s. Mixed media on paper 28 x 21.5 cm. Provenance: Galerie Maeght, New York. Christie’s, London, Impressionist, Modern and Post-War Art, 6 April 2001. Private Collection.
Estimate: SEK 150 000 – 200 000 / EUR 13 070 – 17 430
484. Ronnie Tjampitjinpa (Australia, 1943-) ‘Fire Dreaming’. Acrylic on canvas 119 x 180 cm. Provenance: Art Mob, Hobart, Australia.
Estimate: SEK 35 000 – 40 000 / EUR 3 050 – 3 490 (d)
485. Michael Kvium (Denmark, 1955-) ‘Untitled’. Signed Kvium and dated 98 verso. Oil on canvas 35 x 28.5 cm. Provenance: Galleri Faurschou, Copenhagen.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
486. Michael Kvium (Denmark, 1955-) Untitled. Signed Kvium and dated 11. Mixed media on paper 25 x 25 cm. Provenance: Nils Staerk, Copenhagen.
Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360 (d)
487. Nicola de Maria (Italy, 1954-) ‘Cleopatra’. Collage and watercolour on paper 60 x 46 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
Jim Nutt, ‘Huge’ Jim Nutt was born in Massachusetts, USA, in 1938. After graduating from the Art Institute of Chicago in 1965 he formed, together with his fellow artists Gladys Nilsson, Art Green, Suellen Rocca, Jim Falconer and Karl Wirsum, the artist group ‘Hairy Who?’. The group was active between 1966 and 1969, and they are considered part of the ‘Chicago Imagists’. A product of its time, in a USA of student revolts, reactions against the Vietnam War, political murders and a consumption society, the ‘Hairy Who?’ group became recognised in Chicago and went on to exhibit nationwide. In 1972 Nutt was selected to represent USA at the Venice Biennale. The following year he participated in the Whitney Biennial and in the exhibition Made in Chicago, which was shown at the Sao Paolo Biennial and later toured South America, Washington and Chicago. These shows turned Nutt into an important internationally recognised artist. By the early 1980s his painting took a new turn – he reduced his scale and limited his colour palette and number of figures in each of his compositions. Around 1987 he found the style of painting that he has devoted the next thirty-five years to, with paintings that consists only of a single motif – portraits of imagined women. At the same time, Nutt also moves from having more descriptive titles, to containing only one word or name. The title no longer gives us a clue to the motif, as in his earlier paintings, instead we are drawn to look at the portrait even more closely. Nutt has a very small production, painting only one portrait a year. The portraits are reminiscent of Renaissance painting, and Nutt’s work is distinctive for the very particular noses and exaggerated hairstyles of his figures. The piece in the auction, ‘Huge’, from 1992, is a typical Nutt portrait with the hair and the characteristic nose, which in its style alludes to both Cubism and Renaissance portraiture. Although Nutt's imaginary portraits of women are similar in expression and format, each is as intriguing as the first.
488. Jim Nutt (USA, 1938-) ‘Huge’. Signed Jim Nutt and dated 1992 verso. Acrylic, golden soft gel mixed with water, soluvar varnish on canvas in artist’s frame 64.5 x 64.5 cm. Provenance: Galerie Bonnier, Geneva. Private Collection, Stockholm.
Estimate: SEK 3 000 000 – 5 000 000 / EUR 261 330 – 435 540
Gladys Nilsson, ‘Summer Rain’ Gladys Nilsson was born in Chicago, USA, to Swedish parents in 1940. She trained at the School of the Art Institute of Chicago where she also met her current husband Jim Nutt. Together with Art Green, Suellen Rocca, Jim Falconer, and Karl Wirsum, they formed the artist group ‘Hairy Who?’ in 1965 which was active from 1966 to 1969 and is also known as ‘the Chicago Imagists’. The group was a product of its time, in an America of student uprisings, reactions to the Vietnam War, political assassinations and consumerism. ‘Hairy Who?’ were recognized in Chicago and exhibited throughout the United States. Gladys Nilsson's primary medium is watercolour, and her work touches on surrealism, pop art, cartooning and fantasy. The human figure is her subject, but it is manipulated, enlarged, doubled and dissected to her liking. The motifs are taken from everyday observations that examine sexuality and gender with a large dose of humor. In 1973, Gladys Nilsson became the first of the ‘Hairy Who?’ members to exhibit at the Whitney Museum of American Art in New York and also one of the first women to exhibit there. Since Nilsson's first exhibition in 1966, she has had over 50 solo exhibitions, she has exhibited at numerous institutions worldwide and her work is included in prominent collections.
489. Gladys Nilsson (USA, 1940-) ‘Summer Rain’. Signed Gladys Nilsson and dated 1982 verso. Watercolour on paper 105 x 74.5 cm. Provenance: ändra till: Galerie Bonnier, Geneva. Bukowski Auktioner, Stockholm, “Moderna Vårauktionen 2002”, lot no. 430. Private Collection, Sweden.
Estimate: SEK 150 000 – 200 000 / EUR 13 070 – 17 430 (d)
490. Gunter Damisch (Austria, 1958–2016) Untitled. Signed GD and dated -85 verso. Canvas 35 x 49.5 cm. Provenance: Art Now Gallery, Gothenburg.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
490A. Marcel Dzama (Canada, 1974) Untitled. Signed Marcel Dzama. Inka and watercolour on paper 34 x 26.5 cm. Provenance: Galleri Magnus Karlsson, Stockholm. Stockholms Auktionsverk, ‘Contemporary Art’, 15 november 2011, lot no. 169. Private Collection, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
491. Kurt Ard (Denmark, 1925-) ‘Child at Photographer’. Signed Kurt Ard. Oil and pencil on panel 69.5 x 50 cm. Provenance: A gift from the artist to the present owner in 2012.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
492. Kurt Ard (Denmark, 1925-) Untitled. Signed by Kurt Ard and dated -85. Watercolour on paper 20.5 x 27 cm. Provenance: A gift from the artist to the present owner.
Estimate: SEK 8 000 – 10 000 / EUR 700 – 880 (d)
493. Terence Koh (China, 1977-) ‘Untitled (Double-Sided Head)’. Executed in 2007. Edition 3+2 AP. Silver plated bronze and steel wire. Height 27, width 26, depth 14 cm. Provenance: Peres Projects, Berlin. Private Collection, Stockholm. Literature: Hamim M Momin & Beatrix Ruf, ‘Terence Koh’, 2007, illustrated in colour p. 14.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710
494. Bjarne Melgaard (Norway, 1967-) ‘Erik Gill Fuckin his Dog’. Signed Bjarne Melgaard and dated 2011. Crayon on paper 75 x 105 cm. Provenance: Galleri K, Oslo. Acquired in 2012.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
495. Josef Albers (USA, 1888–1976) ‘Hommage au carré’. Screenprint in colours, 1964/65, signed in pencil 79/125, printed by Atelier Arcay, Paris, published by Denise René, Paris. 28 x 28 cm, sheet size 48 x 76.5 cm. Estimate: SEK 35 000 – 40 000 / EUR 3 050 – 3 490
496. Banksy (Great Britain) ‘Queen Vic’. Screenprint in colours, 2003, signed Banksy and numbered 48/500 in pencil. Published by Pictures on Walls, London. This lot has been authenticated by Pest Control Office and is accompanied by a certificate of authenticity. Sheet 70 x 50 cm. Estimate: SEK 250 000 – 300 000 / EUR 21 780 – 26 140 (d)
497. Banksy (Great Britain) ‘Napalm’. Screenprint, 2004, numbered in pencil 120/500. Published by Pictures on Walls with their blind stamp. 37 x 58 cm. This lot has been authenticated by Pest Control Office and is accompanied by a certificate of authenticity. Estimate: SEK 250 000 – 300 000 / EUR 21 780 – 26 140
498. Christo & Jeanne-Claude (USA, 1935–2020) ‘Two lower Manhattan wrapped buildings, project for New York’. Lithograph in colours and with collage of fabric, thread and city map, 1980, signed in pencil and numbered 88/99, printed by La Polígrafa, Barcelona, published by Ediciones Poligrafa, Barcelona. I./S. 70 x 54.5 cm. Literature: Schellmann/Benecke 106.
Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490
499. Jim Dine (USA, 1935-) ‘Düsseldorff’. Inkjet with photo etching and hand painting, 2009. Signed in pencil and numbered 9/17. P. 80 x 110 cm. Provenance: Wetterling Gallery, Stockholm.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970
500. Sten Eklund (Sweden, 1942–2009) ‘Kullahusets hemlighet’. The complete series of 47 hand-coloured etchings. All signed with initials in red pen. “Kullahuset” with written numbering 3/30 and text in red pen. Different sizes. S. 42 x 32 cm each. Portfolio box in red cloth. Estimate: SEK 150 000 – 175 000 / EUR 13 070 – 15 250 (d)
501. Sam Francis (USA, 1923–1994) ‘Beaudelaire’. Lithograph in colours, 1986. Signed in pencil and numbered AP 4/10. Printed by Gemini G.E.L., Los Angeles. 106 x 150 cm. Literature: SF-289.
Estimate: SEK 40 000 – 50 000 / EUR 3 490 – 4 360
502. Lucio Fontana (Italy, 1899–1968) ‘Concetto Spaziale n. 1’. Lithograph with incision, 1961. Signed in pencil, inscribed ‘Provo d’artiste’, outside the edition of 30. Printed by Il Torchio, Milan with their blindstamp, published by Edizione Grattacielo. 70 x 50 cm. Literature: Ruhé/Rigo L-17.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710 (d)
503. Damien Hirst (Great Britain, 1965-) ‘Theodora’ from ‘Empresses’. Laminated Giclée print on aluminum composite panel, screen printed with glitter, 2022. Signed on label verso. Published by Heni Productions, London. Edition 1180/3315. 100 x 100 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 620 – 3 490 (d)
504. Damien Hirst (Great Britain, 1965-) ‘Butterfly Heart’. Laminated Giclée print on aluminium, signed on label verso, numbered 796/1698. Published by Heni Editions. 70 x 72,7 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
505. Damien Hirst (Great Britain, 1965-) ‘Forever’. Laminated Giclée print on aluminium composite panel, digitally signed on label verso, numbered 941/1449. Published by HENI Editions. 78 x 78 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
506. Damien Hirst (Great Britain, 1965-) ‘Fruitful’. Laminated Giclée print on aluminium composite panel, digitally signed on label verso, numbered 1450/1928. Published by HENI Editions. 78 x 78 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180 (d)
507. Damien Hirst (Great Britain, 1965-) ‘The Currency Unique Print’. Giclée print on Heavy Enhanced Matte Professional Stock, 2022. Signed with felt-tip pen and numbered U.P. 450, from the edition of 1,000 unique variants, published by Heni Editions. 100 x 150 cm. Literature: H11.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970 (d)
508. Damien Hirst (After)(Great Britain, 1965-) ‘Use Money Cheat Death’. Limited edition white vinyl record and sleeve. Signed on cover. Numbered 264/666 on label. 31 x 31 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 310 – 1 750 (d)
509. David Hockney (Great Britain, 1937-) ‘Gregory’. Etching in colours, 1974. Signed in pencil and numbered 45/75. 58,5 x 54,5 cm. Literature: Scottish Arts Council 169.
Estimate: SEK 40 000 – 60 000 / EUR 3 490 – 5 230 (d)
510. Jasper Johns (USA, 1930-) ‘Figure 1’, ur: ‘Color numeral series’. Lithograph in colours, 1968–69, on Arjomari paper, signed in crayon, numbered in pencil 10/40, published by Gemini G.E.L., and with their blind stamp. I. 69,5 x 53,5. S. circa 79 x 96,5 cm. Literature: ULAE 60.
Estimate: SEK 150 000 – 175 000 / EUR 13 070 – 15 250
511. Donald Judd (USA, 1928–1994) Untitled (Schellmann 100), 1974–79. Aquatint etching, 1974–79. Signed in pencil and numbered 30/175. Printed by Styria Studio, New York, with their blindstamp. 89.2 x 62.2 cm, sheet size 101 x 74.5 cm. Literature: Schellmann 100.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970
512. Roy Lichtenstein (USA, 1923–1997) Nude’ from ‘Brushstrokes Figures series’. Lithograph, waxtype, woodcut and screenprint in colours, 1989. Signed in pencil, numbered 16/60. Printed by Graphicstudio, Tampa and published by Waddington Graphics, Lodon. 142 x 82 cm. Literature: Corlett 233.
Estimate: SEK 250 000 – 300 000 / EUR 21 780 – 26 140
513. Roy Lichtenstein (USA, 1923–1997) ‘Modern Head #4’. Lithograph on engraved and anodized aluminium, 1970, signed R. Lichtenstein and numbered 7/100 on verso. Printed and published by Gemini G.E.L., Los Angeles. 43.5 x 52.5 cm. Literature: Corlett 94.
Estimate: SEK 150 000 – 175 000 / EUR 13 070 – 15 250
514. Roy Lichtenstein (USA, 1923–1997) ‘Foot and hand’. Offset lithograph in colour, 1964, signed in pencil and numbered 143/300, published by Leo Castelli Gallery, New York. I. 42,2 x 53,3 cm. S. 43,5 x 54,8 cm. Literature: Corlett II.4.
Estimate: SEK 175 000 – 200 000 / EUR 15 250 – 17 430
515. Roy Lichtenstein (USA, 1923–1997) ‘Sunrise’. Offset lithograph, 1965, from the edition of unknown size. Signed in pencil. 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. Literature: Corlett II.7.
Estimate: SEK 60 000 – 80 000 / EUR 5 230 – 6 970
516. Bjarne Melgaard (Norway, 1967-) ‘Untitled’. The complete set of 24 aquatint, drypoint and photogravure on Somerset paper, 2005. Each signed in pencil and numbered 3/5. Printed by Mette Ulstrup, Julie Dam. Published by Niels Borch Jensen Editions P. 26.5 x 35.5 cm, S. 38.5 x 46.5 cm. Estimate: SEK 150 000 – 200 000 / EUR 13 070 – 17 430 (d)
517. Bjarne Melgaard (Norway, 1967-) ‘Life is a Lonely Buffalo’. The complete set of 12 drypoint, 2005. Each signed with pencil and numbered 13/24. Published by Niels Borch Jensen Editions. Printed by Mette Ulstrup. Image 22.5 x 33 cm, sheet 39 x 46.5 cm. Provenance: Kunstverket Galleri, Oslo. Acquired in 2008.
Estimate: SEK 50 000 – 60 000 / EUR 4 360 – 5 230 (d)
518. Robert Motherwell (USA, 1915–1991) Three Figures. Lithograph in colours, 1989. Signed in pencil and numbered 8/80, on Somerset paper. Printed and published by Tyler Graphics, Ltd., Mount Kisco, New York, with heir blindstamp. 142 x 101 cm. Literature: Belknap 426.
Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710
519. Takashi Murakami (Japan, 1962-) ‘Another Dimension Brushing Against Your Hand’ & ‘Hands Clasped’. Offset lithograph in colour, 2015. Signed and numbered 66/300 and 74/300. 66 x 88 cm each. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620
520. Takashi Murakami (Japan, 1962-) ‘Thank you for the wonderful destiny’. Lithograph in colours, 2021. Signed and numbered PP 1/2, image size 50 x 50 cm. published by Absolut Art, certificate included. Estimate: SEK 20 000 – 25 000 / EUR 1 750 – 2 180
521. Julian Opie (Great Britain, 1958-) ‘Watching Suzanne (back) No. 7’. Screenprint on acrylic panel, 2006. Signed with felt-tip pen on label on verso and numbered 15/25. Published by Alan Cristea Gallery, London. 83 x 57 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
522. Robert Rauschenberg (USA, 1925–2008) ‘Lotus Bed I’ from ‘The Lotus Series’. Pigmented ink-jet on Somerset Velvet paper, 2008. Signed in pencil and numbered 12/50. Published by Universal Limited Art Editions, New York. 151 x 114 cm. Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890
523. Robert Rauschenberg (USA, 1925–2008) Robert Rauschenberg, ‘Sling-Shots lit #6, Black State’. Three Mylar screenprints backed with sailcloth and mounted on a wooden lightbox. Executed in 1985, signature and date incised into metal plate 20/25, from the Sling-Shots Lit series, published by Gemini G.E.L., Los Angeles. Prints 189 x 134 cm. Light box 215 x 143 x 32 cm. Estimate: SEK 100 000 – 125 000 / EUR 8 710 – 10 890
524. Man Ray (After) (France, 1890–1976) ‘Compass’. Multiple, published in 1976 (1920). Published by Galeria D’arte Cortina, Milan, numbered on label on verso 55/110. Including frame 51 x 36 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 180 – 2 620 (d)
525. Cy Twombly (USA, 1928–2011) Untitled. Offset in colours, 1971, signed in pencil and numbered 47/100 on verso, printed by Renator Volpini, Milano, published by Galerie Yvon Lambert, Paris. L./S. 69,5 x 87 cm. Literature: Bastian 37.
Estimate: SEK 100 000 – 150 000 / EUR 8 710 – 13 070
526. Andy Warhol (USA, 1928–1987) ‘Marilyn Monroe (Marilyn)’. Screenprint in colours, 1967, signed with initials and dated -67 in pencil. Printed by Aetna Silkscreen Products, Inc./Du-Art Displays, New York, published by Factory Additions, New York, 91.4 x 91.4 cm. Provenance: Acquired directly from the artist by Lars and Maria Knutsson. Thence in descent.
Estimate: SEK 300 000 – 400 000 / EUR 26 140 – 34 850
527. 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 30 000 – 40 000 / EUR 2 620 – 3 490
528. Andy Warhol (USA, 1928–1987) ‘Absolut Vodka’. Offset lithograph in colours, 1985. Signed in pencil, one of a small number of signed proofs. Published by Carillon Importers Ltd., New Jersey. 106 x 94 cm. Estimate: SEK 100 000 – 150 000 / EUR 8 710 – 13 070
529. Tom Wesselmann (USA, 1931-) ‘Bedroom face with Lichtenstein’. Silkscreen in colours, 1994, signed in pencil and numbered 34/65, with the blindstamp of Screened Images. I. 89 x 106.7 cm. S. 104.2 x 121.3 cm. Estimate: SEK 80 000 – 100 000 / EUR 6 970 – 8 710
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