C O N T E M P O R A R Y N
O
A R T & D E S I G N
635 | BUKOWSKIS | NOVEMBER 2, 2021
CONTEMPORARY ART & DESIGN VIEWING: OCT 27 – NOV 1 | BER ZELII PARK 1, STOCKHOLM AU C T I O N : N O V 2 | A R S E N A L S G ATA N 2 , S TO C K H O L M
For inquiries please contact Design & 20th Century Works of Art Eva Seeman, +46 708 92 19 69 eva.seeman@bukowskis.com
Design & 20th–21st Century Works of Art Jonatan Jahn, +46 703 92 88 60 jonatan.jahn@bukowskis.com
Design & 20th Century Works of Art Camilla Behrer, +46 708 92 19 77 camilla.behrer@bukowskis.com
Carpets, Textiles & Islamic Works of Art Anette Granlund, +46 708 92 19 92 anette.granlund@bukowskis.com
Head Specialist Art Andreas Rydén, +46 728 58 71 39 andreas.ryden@bukowskis.com
Photographs, Contemporary Art Karin Aringer, +46 702 63 70 57 karin.aringer@bukowskis.com
Contemporary Art Louise Wrede, +46 739 40 08 19 louise.wrede@bukowskis.com
Prints Marcus Kinge, +46 739 40 08 27 marcus.kinge@bukowskis.com
Cover: Christo & Jeanne-Claude, Store Front (Project)
Upcoming auctions autumn 2021
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Contemporary Art & Design Stockholm Viewing: October 27 – November 1 Auction live: November 2
Important Timepieces Stockholm
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1
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2
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Viewing: October 27 – November 1 Auction live: November 2
Design Sale Helsinki Online only auction: October 8−24
Modern Art + Design
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Stockholm Viewing: November 11–16 Auction live: November 17–18
3
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4
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Important Winter Sale
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Stockholm Viewing: December 2–7 Auction live: December 8–10
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T U E S D AY
NOVEMBER 2
From 11 am (CET) Contemporary Art & Design No 635 Design
Lot. no 1 – 93
The Estate of Barbro and Lars Andersson
94 – 104
The wild and the vivid 1970s
105 – 124
From 2 pm (CET)
Lot. no
Photography
125 – 230B
Contemporary Art
231 – 377A
Prints
From 7 pm (CET) Important Timepieces N° 634
378 – 408A
Lot. no 1 – 110A
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1. Mats Theselius (Sweden, 1956–), a ‘Rörligt objekt’ room divider, Källemo Sweden post 1989. Aluminum, four panels, height 188 cm, width 4 x 48,5 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
2. Mats Theselius (Sweden, 1956–), an ‘Aluminium chair’, ed. 90/200, Källemo, Sweden post 1990. Matte polished aluminium, beech and fretted leather, label marked ALUMINIUMFÅTÖLJ No 90/200 MATS THESELIUS 1990 KÄLLEMO AB, height 74 cm. (d)
Estimate: SEK 50 000 – 60 000 / EUR 4 900 – 5 880
3. Mats Theselius (Sweden, 1956–), a ‘National Geographic’, cabinet, tripple version, Källemo, Sweden, post 1990. Three yellow lacquered cabinets mounted to a beech base, brass handles with plates marked: Bookcase cabinet for the National Geographic magazine Mats Theselius 1990, Produced by Källemo AB Sweden. Height 181 cm, width 174 cm, depth 21,5 cm. Estimate: SEK 40 000 – 60 000 / EUR 3 920 – 5 880
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4. Mats Theselius (Sweden, 1956–), a Ferrari red ‘Canapé’, ed. 15/35, Källemo, Sweden post 1991. Lacquered steel, red leather and walnut, marked with label and numbered 15/200(35), Length ca 130 cm, height 75 cm, seat height 46 cm. Initially in an edition of 200. Only 35 were made and the edition was changed to 35. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
5. Jonas Bohlin (Sweden, 1954–), a ‘Concrete’ armchair, Källemo, Värnamo, Sweden post 1981. Concrete and iron, signed ?6/100 jONAS BOHLIN, height 90 cm, width 49 cm, depth 57 cm, seat height 45,5 cm. (d)
Estimate: SEK 100 000 – 150 000 / EUR 9 800 – 14 700
6. Jonas Bohlin (Sweden, 1954–), a ‘En dubbel espresso’ floor lamp, Källemo, Sweden post 1987. Metal base, two aluminium arms with shades made of porcelain espresso cups, height 191 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
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7. Jonas Bohlin (Sweden, 1954–), a ‘En dubbel espresso’ floor lamp, Källemo, Sweden post 1987. Metal base, two aluminium arms with shades made of porcelain espresso cups, height 191 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
8. Jonas Bohlin (Sweden, 1954–), a ‘Concav’ chaise longue, Källemo, Sweden ca 1985. Purple lacquered tubular aluminium, black leather seat and loose cushion, metal base, length 270 cm, width 53 cm, height 77 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
9. Jonas Bohlin (Sweden, 1954–), a ‘Slottsbacken’ cabinet, ed. 20/200, Källemo, Sweden post 1987. Stained oak, sheet iron, the interior with five glass shelves, marked with plaque SLOTTSBACKEN av JONAS BOHLIN 1987 för KÄLLEMO–VÄRNAMO–SWEDEN. Produced in 200 ex 1/200 – 200/200 and 10 ex signed 1/X – X/X. Number 20/200 JONAS BOHLIN, height 210 cm, width 70 cm, depth 37 cm (d)
Estimate: SEK 100 000 – 150 000 / EUR 9 800 – 14 700
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10. Jonas Bohlin (Sweden, 1954–), a ‘Sto’, chair, ed. 17/70, Jonas Bohlin Design AB Stockholm, post 1990. Iron and oak, signed STO 17/70 jONAS BOHLIN 1990, height 94,5 cm, width 31,5 cm, depth 52,5 cm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
11. Jonas Bohlin (Sweden, 1954–), a ‘Sto’, chair, ed. HC 1/VII, Jonas Bohlin Design AB Stockholm, post 1990. Iron and oak, signed STO HC1/VII jONAS BOHLIN 1990, height 94,5 cm, width 31,5 cm, depth 52,5 cm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
12. John Kandell (Sweden, 1925–1991), a ‘Kasper’ object/cabinet, ed. HC II/V, Källemo, Sweden post 1989. Wood painted in green, red and white, one door, signed ‘Kasper’ HC II/V JK, height 61 cm. (d)
Estimate: SEK 6 000 – 8 000 / EUR 590 – 790
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11. Jonas Bohlin (Sweden, 1954–), a ‘Sto’, chair, ed. HC 1/VII, Jonas Bohlin Design AB Stockholm, post 1990.
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24. Paolo Pallucco (Italy, 1950–), & Mireille Rivier, an easy chair, ‘Barba D’Argento’, Pallucco, Italy, post 1986.
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13. John Kandell (Sweden, 1925–1991), a wall cabinet, a version of ‘Arkitektskåpet’, ed. 17/20, Källemo, Sweden, post 1989. White stained pine, green painted lock, marked and signd 17/20 JK, total height 55 cm, width 15 cm, total depth 21 cm. (d)
Estimate: SEK 6 000 – 8 000 / EUR 590 – 790 The cabinet ‘Arkitektskåpet’ was based on Rolf Åsard’s scholarship, which was awarded by Sveriges Arkitekter to a newly graduated interior designer. The scholarship sum of SEK 20,000 came from a fund that was built up by designers and artists designing cabinets that were sold to the members of the Swedish Association of Architects. The first cabinet was designed by John Kandell, since then Jonas Bohlin, Mikael Löfström, Hertha Hillfon, Mats Theselius and Ernst Billgren have each designed a cabinet. The fund was later closed down and the distribution of scholar– ships ceased in 2009. The cabinet in this auction is a limited edition of 20 copies and version of the original red cabinet which was made in 190 copies.
14. Thomas Sandell (Sweden, 1964–), a ‘Panik’ cabinet, probably unique, Stockholm 1990. Led covered door embellished with two Dalecarlian horses. blue painted wooden cabinet, height 151,5 cm, 34,5 x 27 cm. Provenance: The restaurant Tranan, Stockholm. (d)
Estimate: SEK 10 000 – 15 000 / EUR 980 – 1 470 This is most likely the first ‘Panik’–cabinet executed. The story goes that Sandell was asked by the restaurateur PG Nilsson to make something from a wrongly ordered glue joint when at the time they worked together with the interior of the Restaurant ‘Rolfs kök’ in Stockholm. When the mistaken order was discovered PG screamed ‘Panic!’. Thus the cabinet was later named ‘Panik’ (panic). The cabinet came to receive a lot of attention. Supported by his fellow architect Jonas Bohlin, Sandell decided to make a limited edition of the cabinet. All Panik–cabinets in the series were signed and numbered.
15. Thomas Sandell (Sweden, 1964–), a sofa table, Asplund, Sweden post 1995. Green lacquered tubular steel, birch top, measurements 120 x 64 cm, height 49 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
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16. Mats Theselius (Sweden, 1956–), a ‘The Ritz’ lounge chair, edition 84/90, Källemo Sweden, post 1994. Black lacquered steel frame, the armrests with inlays of elk horn, upholstered in black leather, the back legs with wheels. Marked with metal plaque: THE RITZ Mats Theselius 1994 No 84/90 KÄLLEMO VÄRNAMO SWEDEN. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
17. Mats Theselius (Sweden, 1956–), an ‘el Rey’ easy chair, ed. 74/360, Källemo, Sweden post 1999. Brass and black leather, signed el Rey by Mats Theselius 1999 Nr: 74/360 copies for Källemo, Sweden, seat height 31–36 cm. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
18. Mats Theselius (Sweden, 1956–), a pair of ‘Aluminium’ easy chairs, Källemo, Sweden, post 1990. Brushed aluminium, beech wood rail, natural leather seat, height 73,5 cm, seat height 48 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
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19. Ingo Maurer (Germany, 1932–), an ‘Uchiwa’ ceiling light, probably 1950s.
20. Piero Fornasetti (Italy, 1913–1988), a pair of ‘Panoplie’ table lamps, Milano, Italy 1950s–60s.
Bamboo and fans. Height ca 96 cm, diameter ca 50 cm.
Brass and metal with printed decor, one with maker’s mark Fornasetti Milan Made in Italy, height ca 45 cm.
Estimate: SEK 10 000 – 15 000 / EUR 980 – 1 470
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
21. Marco Zanuso (Italy, 1916–2001), a pair of ‘Lady Chairs’, Arflex, Italy, post 1951. Base in tubular metal, upholstered in a black wool textile, seat height 37 cm, height 80 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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22. Vico Magistretti (Italy, 1920–2006), a ‘L’impiccato’ ceiling lamp, Artemide, Milan, Italy 1960s. Black lacquered metal stem, white perspex shade, textile cord with metal counterweight, length 215 cm, diameter of the shade 48 cm. Estimate: SEK 6 000 – 8 000 / EUR 590 – 790
23. Angelo Mangiarotti (Italy, 1921–2012), a sideboard, ‘Eros’, model P80, Skipper, Italy, 1970–1980s. Grey/beige and white marble, oval top, two legs, height 72 cm, length 181 cm, depth 45,5 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
24. Paolo Pallucco (Italy, 1950–), & Mireille Rivier, an easy chair, ‘Barba D’Argento’, Pallucco, Italy, post 1986. Base in metal, seat made of chains and chrome plated tubular steel, adjustable seat, plastic details, height ca 71 cm. Provenance: Acquired at C&Bi Interior in Stockholm late 1980’s. Literature: Repertorio del Design Italiano per L’Arredamento Domestico, 1950–2000, Gramigna, p. 360.
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
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25. Ettore Sottsass (Italy, 1917–2007), a ‘Shiva’ pink glazed ceramic vase, B.D Barcelona, Spain post 1973.
26. Ettore Sottsass (Italy, 1917–2007), a ‘Tahiti’, table lamp, Memphis, Milan, post 1981.
Maker’s mark b.d E.SOTTSASS. Height 24,5 cm.
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 4 000 – 5 000 / EUR 400 – 490
Estimate: SEK 10 000 – 15 000 / EUR 980 – 1 470
27. Willy Rizzo (Italy, 1928–2013), a ‘Savage’ dining table, Sabot, Italy, 1970–1980s. Veneered with burled birch, brass linings, height 74 cm, table top dimensions 120 x 120 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
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28. Borek Sipek (Czech Republic, 1949–2016), a set of 4 ‘Jansky’ chairs, Driade, Italy, post 1986. Seat, feet, backrest and armrests in stained green wood, purple enamelled back feet and details in brass, marked with label DRIADE, height 79 cm, seat height 46 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
29. Warren Platner (USA, 1919–2006), a pair of ‘Platner Side Chairs’, Knoll, USA 1960–1970s. Nickel plated steel rods, seat and back upholstered with a beige textile, height 77 cm, seat height 48 cm, width 95 cm. Provenance: Acquired in the 1970s.
Estimate: SEK 20 000 – 30 000 / EUR 1 960 – 2 940
30. Charles and Ray Eames (USA, 1907–1978), a ‘Lounge chair’ and ottoman, Vitra 1960–1970s. Plywood with rosewood veneer, black leather, black and brushed steel base, height ca 75 cm. Provenance: Peter Sellers. Bukowskis Moderna, sale 515, Spring 2000, lot 908.
Estimate: SEK 40 000 – 60 000 / EUR 3 920 – 5 880
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31. Charles and Ray Eames (USA, 1907–1978), a ‘La Chaise’, Vitra 2012. Fiberglass reinforced white plastic, base in chrome plated steel on oak legs, marked with Vitra label and dated 2012, height 90 cm, width 150 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
32. Frank Gehry (USA, 1929–), a pair of ‘Super Light’, chairs, first ed. 283–284/500, for Emeco, USA post 2004. Aluminium, maker’s mark Emeco The Superlight Chair Frank O. Gehry Made in Hanover, USA First Edition 283–284/500, and metal plaque emeco by gehry, height 80 cm, seat height 45 cm. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
33. Mark Lewis, ‘Greyhound’, ed. 6/10, executed in his own studio, Great Britain ca 1985. Tubular steel, chain, Brooks bicycle seat, signed and numbered Lewis 006, height 80 cm, length 100 cm. Literature: Compare Wright20, ‘Important Design’ sale 22 May 2007, lot 608. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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34. Marc Newson (Australia, 1963–), an ‘Embryo Chair’, Idée, Japan, post 1988.
35. Marc Newson (Australia, 1963–), an ‘Embryo Chair’, Idée, Japan, post 1988.
Yellow neoprene, three chrome plated legs with aluminium frames, height ca 81 cm.
Black neoprene, three chrome plated legs with aluminium frames, height ca 81 cm.
Provenance: Acquired at the Marc Newson exhibition at C&Bi Interior in Stockholm, 1991.
Provenance: Acquired at the Marc Newson exhibition at C&Bi Interior in Stockholm, 1991.
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
36. Michel Ducaroy (France, 1925–2009), a blue leather ‘Togo’ sofa, Ligne Roset, France, presumably 1980s. Comprising four parts, marked with maker’s label. Total length circa 316 cm, seat height circa 30, height 73 cm, (length 86, 100, and 130 cm). Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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37. Boca Do Lobo, an ‘Eden’ low table, Portugal, 21st Century.
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37. Boca Do Lobo, an ‘Eden’ low table, Portugal, 21st Century. Cast brass, irregular shape, decorated like a tree trunk, height 29 cm, width 115 cm, depth 80 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
38. Tom Dixon (Great Britain, 1959–), a carpet, ‘Maze’, hand tufted, ca 478 x 478 cm, ‘MAZE By ASPLUND’. Made around 1997. A black leather label at the back: ASPLUND. Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
39. Philippe Starck (France, 1949–), a pair of ‘Dr Sonderbar’ chairs, XO, France, post 1993. Black lacquered metal, height 63 cm, width 90 cm. Literature: Starck, Philippe, Starck, Taschen, Köln, 1996, p 218.
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
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39. Philippe Starck (France, 1949–), a pair of ‘Dr Sonderbar’ chairs, XO, France, post 1993.
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40. Lindsey Adelman (USA, 1968–), a ceiling lamp, ‘Branching Disc’, BD.11.01’, Studio Lindsey Adelman, Los Angeles, USA, 2016. Base in bronze, 11 shades in porcelain, marked LA in bronze, label in the ceiling cup, length ca 240 cm, depth 110 cm, height ca 110 cm. Estimate: SEK 75 000 – 100 000 / EUR 7 350 – 9 800
41. Lindsey Adelman (USA, 1968–), a ceiling lamp, ‘Branching Disc’, BD.11.01’, Studio Lindsey Adelman, Los Angeles, USA, 2016. Base in bronze, 11 shades of porcelain, marked LA in bronze, label in the ceiling cup, length ca 240 cm, depth 110 cm, height ca 110 cm. Estimate: SEK 75 000 – 100 000 / EUR 7 350 – 9 800
42. Piero de Martini (Italy, 1939–), a dining table / sideboard, ‘La Barca’, Cassina, Italy, post 1975. Walnut, adjustable, height 74,5 cm, length 274 cm, width 74 cm, when folded 37 cm. Provenance: Acquired in 1988 at Svenssons Möbler.
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
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44. Robert Indiana (USA, 1928–2018), a carpet, ‘White on Black’, Chosen Love, hand tufted in 1995, ca 243 x 247,5 cm.
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43. Ronald Cecil Sportes (France, 1943–), ‘Sum up’, a pair of chairs, a table and an ashtray, for J.G. Furniture Systems Inc. USA, post 1982. Chrome plated metal, height of the chairs 73 cm, seat height 46 cm, height of the table 62 cm. Estimate: SEK 10 000 – 12 000 / EUR 980 – 1 180
44. Robert Indiana (USA, 1928–2018), a carpet, ‘White on Black’, Chosen Love, hand tufted in 1995, ca 243 x 247,5 cm. A cut decoration and a signature in relief. A signed label at the back: numbered 124/175. ‘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 1960s. Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
45. Keith Haring (After) (USA, 1958–1990), a chair, Bretz edition, Germany, post 1998. Upholstered in a violet and orange velvet fabric, feet of aluminium, maker’s mark, height 146 cm. Estimate: SEK 4 000 – 5 000 / EUR 400 – 490
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46. Fernand Léger (France, 1881–1955), a carpet, tufted, after Fernand Léger, ca 272,5 x 159 cm. A red ground with a polychrome modernist composition. According to the owner purchased in 1985 at Nordiska Kompaniet. The back with traces of glued label. (d)
Estimate: SEK 15 000 – 16 000 / EUR 1 470 – 1 570
47. Mark Brazier Jones (New Zeeland, 1956–), a unique ‘Tally ho’ chair /sculpture, executed in his own Studio, England 2015. Base in nickel plated bronze, seat in white leather decorated with handpainted flowers, stirrups and reins, height 95 cm, length 150 cm. Provenance: Acquired directly from Mark Brazier Jones 2020. Copy of invoice included. (d)
Estimate: SEK 50 000 – 75 000 / EUR 4 900 – 7 350
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48. Yrjö Kukkapuro (Finland, 1933–), a pair of ‘Saturnus’ easy chairs, Haimi, Finland 1970s. From the estate of Timo Sarpaneva. Base and seat in black fibreglass reinforced plastic, upholstery in black leather, maker’s mark, width 62 cm, height 74 cm. Provenance: Belonged originally to Timo Sarpaneva, Helsiniki.
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
49. Yrjö Kukkapuro (Finland, 1933–), a ‘Saturnus’ easy chair and ottoman, Haimi, Finland 1970’s. From the estate of Timo Sarpaneva. Base and seat in black fibreglass reinforced plastic, upholstery in black leather. Non–rotating, maker’s mark, width 62 cm, height 74 cm. Provenance: Belonged originally to Timo Sarpaneva, Helsiniki.
Estimate: SEK 10 000 – 12 000 / EUR 980 – 1 180
50. Yrjö Kukkapuro (Finland, 1933–), a ‘Saturnus’ table, Haimi, Finland 1970’s. From the estate of Timo Sarpaneva. Base in black fibreglass reinforced plastic, diameter 60 cm, height 45 cm. Provenance: Belonged originally to Timo Sarpaneva, Helsiniki.
Estimate: SEK 5 000 – 6 000 / EUR 490 – 590
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51. Hans J Wegner (Denmark, 1914–2007), an ‘Ox–Chair’ and ottoman for Erik Jørgensen, Denmark, post 1961. Black leather and black metal base, marked with label ‘Ox Chair’ Hans J Wegner Erik Jørgensen, height 91 cm, height of ottoman 35 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
52. Nanna Ditzel (Denmark, 1923–2005), a ‘Bench for two’ with table, model 2600 & 2601, Frederica Stolefabrik, Denmark, post 1989. Maple veneer with silkscreen print. Black lacquered legs. Bench lenght 150 cm, seat height 40 cm. Table length 90 cm, width 64 cm, height 40 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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53. Verner Panton (Denmark, 1926–1998), a ‘Panthella’ table lamp, Louis Poulsen, Denmark 1970s.
54. Verner Panton (Denmark, 1926–1998), a coat hanger, Lüber, Switzerland 1970s.
Base in mirror foiled plastic, shade in grey translucent plastic, maker’s mark, height 72 cm, diameter 50 cm.
Chrome plated steel rods, height 151 cm, diameter 60 cm.
Estimate: SEK 10 000 – 15 000 / EUR 980 – 1 470
Estimate: SEK 10 000 – 15 000 / EUR 980 – 1 470
55. Verner Panton (Denmark, 1926–1998), a set of 4 chairs, ‘System 1–2–3’, Fritz Hansen, Denmark, post 1973. Aluminium base, seat and back upholstered in purple textile, height 87 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
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56. Carl Fredrik Reuterswärd (Sweden, 1934–2016), a carpet, a silk China, hand–knotted, ca 197 x 153 cm. Four rugs in different colour schemes were made after paintings by Carl Fredrik Reuterswärd. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
57. Jonas Bohlin (Sweden, 1954–), a pair of ‘Paris’ easy chairs, ed. 41 & 42, Lammhults Möbel AB, Sweden 2000. Chrome plated tubular steel, seat and armrest covered in black leather, maker’s mark PARIS Design Jonas Bohlin Lammhults Sweden Nr 41 & 42 and dated 2000, height 85 cm, seat height 43 cm. Estimate: SEK 10 000 – 12 000 / EUR 980 – 1 180
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58. Jonas Bohlin (Sweden, 1954–), a table and easy chair, ‘Formula ask’, Jonas Bohlin Design AB, Sweden 1999. Base in black lacquered tubular steel, table top and chair in ash, seat and back with black leather cushions, maker’s mark j Bohlin Jonas Bohlin Design Stockholm. Height of the table 41 cm, the table top 70 x 50 cm. Height of the chair 75 cm, seat height 41 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
59. Jonas Bohlin (Sweden, 1954–), a ‘Liv’ dining table, Jonas Bohlin Design AB, Stockholm, post 1997. Base in black lacquered steel, brown leather top with brass lining, maker’s mark j Bohlin Jonas Bohlin design Stockholm, height 74 cm, diameter 100 cm. Estimate: SEK 6 000 – 8 000 / EUR 590 – 790
60. Jonas Bohlin (Sweden, 1954–), a set of 6 ‘Liv’ chairs, Jonas Bohlin Design AB, Stockholm, post 1997. Black lacquered steel, black leather seat, maker’s mark j Bohlin Jonas Bohlin design Stockholm, height 90 cm, seat height 48 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
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61. Mats Theselius (Sweden, 1956–), an ‘Inox’ armchair, ed. 3/199, for Källemo, Sweden post 2015. Polished steel, white soaped oak and white nubuck leather, maker’s mark Aluminium chair 25th Anniversary Inox no 3/199 Mats Theselius Källemo 2015, height 72,5 cm, seat height ca 46 cm. (d)
Estimate: SEK 50 000 – 60 000 / EUR 4 900 – 5 880
62. Mats Theselius (Sweden, 1956–), an ‘El Rey’ armchair, ed. 285/360, Källemo, Sweden post 1999. Brass and black leather, signed el Rey by Mats Theselius 1999 Nr: 285/360 copies for Källemo, Sweden, seat height 31–36 cm. (d)
Estimate: SEK 65 000 – 80 000 / EUR 6 370 – 7 840
63. Mats Theselius (Sweden, 1956–), a ‘Star’ easy chair, ed. 138/360, Källemo, Sweden, post 2009. Chromed plated steel base, covered in artificial mother of pearl, seat upholstered in white nubuck leather, marked with label, STAR Mats Theselius 2009 KÄLLEMO AB 138/360, height 81 cm, seat height 44 cm. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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64. Mats Theselius (Sweden, 1956–), an ‘El Dorado’ easy chair, ed. 177/360, Källemo Sweden post 2002. Brass, natural brown leather, birch, label marked EL DORADO by Mats Theselius 2002 No 177/360 KÄLLEMO AB SWEDEN, seat height ca 47 cm, height 78 cm, width 65 cm. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
65. Mats Theselius (Sweden, 1956–), an ‘El Dorado’ easy chair, ed. 334/360, Källemo Sweden post 2002. Brass, natural brown leather, birch, label marked EL DORADO by Mats Theselius 2002 No 334/360 KÄLLEMO AB SWEDEN, seat height ca 47 cm, height 78 cm, width 65 cm. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
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66. Mats Theselius (Sweden, 1956–), a ‘Sheriff’ swivel chair, Källemo, Sweden post 2003. Swivel base in black lacquered metal, seat in brown leather, maker’s mark, adjustable height max 87 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
67. Per Söderberg (Sweden, 1968–), a ‘NEB Writing Desk’, No Early Birds, Sweden, post 2011. Base in black lacquered steel, front and nails in brass, top covered in Tärnsjö leather, height 75 cm, width 122 cm, depth 40 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
68. Gunilla Lagerhem Ullberg (Sweden), a carpet, handtufted with a decor in relief, ca 236 x 170 cm, Kasthall, around 2005. A dark blue melange ground with a polychrome relief decor of oval rings. Some details of lurex. Senior Product Manager, at Kasthall Mattor och Golv AB, Peter Eriksson: ‘It is tufted from wool and flax in a mixture in our quality Stubb with details in higher pile height of our quality Moss’. One side with a leather label. Probably unique. (d)
Estimate: SEK 5 000 – 6 000 / EUR 490 – 590
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M AT S T H E S E L I U S – H O M M A G E À S I G U R D L E W E R E N T Z Mats Theselius designed this chair as a tribute to one of his favorite architects, Sigurd Lewerentz. The copper plate that the seat is covered in is taken from the St Petri Church, in Klippan Sweden, designed by architect Sigurd Lewerentz and built in 1962–66. The church was one of Lewerentz’s last assignments and one of his most appreciated church projects. Theselius created the chair with inspiration from the church’s various materials and
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patterns. The fabric that adorns the seat is inspired by the pattern on the church floor. The armrests in ebony are an interpretation of the church window that lies on the outside of the church body. The whole structure is divided into different components, as a somewhat unfinished whole, something that Theselius saw as an important part of the church’s design. The copper plate was only enough for 123 chairs.
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69. Mats Theselius (Sweden, 1956–), an ‘Hommage à Sigurd Lewerentz’ armchair, ed. EA 2/6 Källemo, Sweden, post 2012. 70. Mats Theselius (Sweden, 1956–), an ‘Hommage à Sigurd Lewerentz’ armchair, ed. 85/123. Källemo, Sweden, post 2012.
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69. Mats Theselius (Sweden, 1956–), an ‘Hommage à Sigurd Lewerentz’ armchair, ed. EA 2/6 Källemo, Sweden, post 2012. Patinated copper, ebony and steel frame, woven textile, maker’s mark: HOMMAGE A SIGURD LEWERENTZ MATS THESELIUS NO EA 2/6 KÄLLEMO SWEDEN 2012. Height 75 cm, seat height ca 42 cm. The copper derives from the St Petri Church, Klippan Sweden by the architect Sigurd Lewerentz. The church was erected in 1962–1966. The limited amount of copper available made a limitation of 123 chairs. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
70. Mats Theselius (Sweden, 1956–), an ‘Hommage à Sigurd Lewerentz’ armchair, ed. 85/123. Källemo, Sweden, post 2012. Patinated copper, ebony and steel frame, woven textile. Maker’s mark: HOMMAGE A SIGURD LEWERENTZ MATS THESELIUS NO 85/123 KÄLLEMO SWEDEN 2012. The copper derives from the St Petri Church , Klippan Sweden by the architect Sigurd Lewerentz. The church was erected in 1962–1966. The limited amount of copper available made a limitation of 123 chairs. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
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71. Jonas Bohlin (Sweden, 1954–), 6 ‘Tivoli’ chairs, Klong, Sweden, post 2002. Base in black lacquered metal, leather seat and back, maker’s mark Klong Interior Design Jonas Bohlin, height 78 cm, seat height 45 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
72. Jonas Bohlin (Sweden, 1954–), 6 ‘Tivoli’ chairs, Klong, Sweden, post 2002. Base in black lacquered metal, leather seat and back, maker’s mark Klong Interior Design Jonas Bohlin, height 78 cm, seat height 45 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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73. Björn Lundberg (Sweden), a runner, a rag rug, ca 388,5–398 x 128–129 cm. A light ground in a variety of ivory, pale yellow, light blue and black nuances as well as an end with a narrow brown border. The sides have a wide border in black, grey, ivory and a little brown. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
74. Mårten Medbo (Sweden, 1964–), an amber and white ‘Double Vase’ of glass, Ajeto Glassworks, Czech Republic 2001. Signed MÅRTEN MEDBO 2001. Height 31 cm. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
75. Ernst Billgren (Sweden, 1957–), a bench, ‘Tjyvar’, ed. 13/51, Sweden 2006. Oak, details in glass mosaic, marked and numbered Ernst Billgren 13/51, height 44,5 cm, length 100 cm, width 40 cm. Provenance: Galleri Lars Bohman, Stockholm, ‘Tjyvar’, 2 September–1 October 2006. Custom made for the exhibition. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
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76. Ernst Billgren (Sweden, 1957–), a glass table lamp, ‘Fattigmanslampa’, Reijmyre, Sweden 2010, ed. 7/50. Seated duck on a glass shade with daffodils, brass fitting for one light, the shade with engraved signature Ernst Billgren 7/50. Height ca 53 cm, diameter ca 39 cm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
77. Birgitta Nelson Clauss (Sweden, 1943–), a textile, ‘Den stilla stunden’, flat weave, ca 117,5 x 113–116 cm, signed NELSON–CLAUSS. A light melange ground with a polychrome composition with woman in front of a variety of different images. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
78. Attila Suta (Sweden, 1976–), a bar cabinet, executed in his own studio, Stockholm 2018, the first one executed, Stockholm 2020. White stained and black stained ash in relief, the front with two drawers and a folding leaf, details in brass, interior with lighting, legs in black lacquered metal, signed and numbered Kunglig Hovleverantör Attila Suta Nr 1. Height 120 cm, width 96 cm, depth 50 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
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79. Attila Suta (Sweden, 1976–), a pair of side tables, executed in his own studio, Stockholm 2018. The front with relief decoration, oiled walnut and black stained ash, marked Attila Suta Kunglig Hovleverantör, height 60 cm, width 45 cm, depth 45 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
80. Lotta Lampa (Sweden, 1981–), a unique ‘Cobra’ hommage à Greta Grossman, floor lamp, Studio Lotta Lampa 2021. Tubular steel, shade in steel plate, lacquered in black and white, a blend of Volvo and Skoda car lacquers, signed Lotta Lampa –21, height 171 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960 Lotta Lampa (b. 1981) is a designer and artist, based in Kalix, Norrbotten. Educated at Beckmans School of Design in Stockholm and International Design Academy by Luxury Living Group, Forli, Italy. Lampa is acclaimed internationally and is one of the few designers from Norrbotten who has shown her design at the Salone de Mobile in Milan on several occasions as well as at the London Design Fair, Chart Art Fair & Design Copenhagen and Stockholm Design Week. Her works is characterized by bold shapes, materials and color choices. There is a daring playfulness in everything from Lampa’s designs and works of art. With her liberating expression full of contrast and great sense of proportions and details, she manages to portray the beautiful through an imperfect tactile rawness that attracts a closer look at her work.
81. Niklas Runesson (Sweden, 1985–), a unique sideboard, executed in his own studio in 2019. American elm, organic shape and scuptured feet, front with two doors with mirrors, interior with one cabinet, height 93 cm, length 170 cm, depth 48 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
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89. Erik Höglund (Sweden, 1932–1998), a sixteen light chandelier, Boda, Sweden 1960–1970s.
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Niklas Runesson (b. 1985) is a self–taught artisan / designer who grew up in Småland, Sweden. With a legacy of three generations of woodworkers/engineers who were active from 1945–2000 in the manufacture of turned toy parts, Runesson takes the legacy into the present. Runesson creates his objects freely without sketching or drawing models. He usually has proportions and measurements for furnitures in his head and he does the rest by intuition. The sideboard was made as a part of a collection consisting of 4 units, easy chair, stool, sideboard and mirror 2019. Runesson is inspired by the nature but also fragments of the unknown / fantasy. A mantra that often comes back when he wants to explain the feeling “friendly creature”, a recurring theme in his design process. 82. Niklas Runesson (Sweden, 1985–), a unique easy chair, executed in his own studio in 2019.
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82. Niklas Runesson (Sweden, 1985–), a unique easy chair, executed in his own studio in 2019. American elm, organic sculptured feet and armrests, seat in brown suede from Tärnsjö, height 70 cm, width 80 cm, seat height 34 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
83. A pair of Scandinavian easy chairs, 1960s. Wood, seat in cowhide, armrests and neck cushion in brown leather, height ca 85 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
84. Erling Viksjø (Norway, 1910 – 1971), a coffee table for A/S Conglo, Norway, 1960–1970s. A conglomerate (Terazzo) stone top with brass lining, base in mahogany, height 50 cm, diameter 100 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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85. James Krenov (USA, 1920–2009), a wall cabinet, executed in his own workshop, Bromma, Sweden ca 1965. Oregon pine and other wood types, curved front, interior with three drawers and shelves, signed with monogram JK, height 57 cm, width 31 cm, depth 19 cm. Provenance: Sixten Lundkvist, former head of the Craft Association in Stockholm. Bought directly from James Krenov.
Estimate: SEK 10 000 – 12 000 / EUR 980 – 1 180
86. Hans–Agne Jakobsson (Sweden, 1919–2009), a tray on stand, Hans–Agne Jakobsson AB, Markaryd, 1950–1960s. Brass, tray of blue glazed porcelain from Arabia, maker’s mark Hans–Agne Jakobsson AB Markaryd, height 77 cm. Estimate: SEK 5 000 – 6 000 / EUR 490 – 590
87. Hans–Agne Jakobsson (Sweden, 1919–2009), a pair of ceiling lamps, model ‘T487/M’, Hans–Agne Jakobsson AB Markaryd, 1960–1970s. Polished brass, maker’s mark Hans–Agne Jakobsson AB Markaryd, height 32, diameter 20 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
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88. Hans–Agne Jakobsson (Sweden, 1919–2009), a floor/ table lamp, model ‘G 81’, Hans–Agne Jakobsson AB Markaryd, Sweden, 1960–1970s. Stamped HAJ MARKARYD G 81. M 3 – 60W, height 98 cm, diameter 20 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
89. Erik Höglund (Sweden, 1932–1998), a sixteen light chandelier, Boda, Sweden 1960–1970s. Iron base with cast and mould blown clear glass. Height ca 164 cm, diameter ca 51 cm, total height including iron link for hanging à 35 cm = 199 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
90. Mona Wassén (Sweden), a tapestry, tapestry weave, ca 107 x 58,5 cm, signed Mona Wassén. A polychrome landscape with a house. A wide light melange framework. A label at the back. (d)
Estimate: SEK 3 000 – 4 000 / EUR 300 – 400
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91. Hans–Agne Jakobsson (Sweden, 1919–2009), a ceiling lamp, model ‘Sonata’ T434/15, Hans–Agne Jakobsson AB Markaryd, Sweden 1960–1970s. Brass, 24 light fixtures, cylindrical glass shades, maker’s mark, height ca 70 cm, diameter ca 75 cm. Estimate: SEK 20 000 – 30 000 / EUR 1 960 – 2 940
92. Hans–Agne Jakobsson (Sweden, 1919–2009), a pair of ceiling lamps, model ‘Sonata’ T434/15, Hans–Agne Jakobsson AB Markaryd, Sweden 1960–1970s. Brass, each with15 light fixtures, cylindrical glass shades, maker’s mark, height ca 70 cm, diameter ca 70 cm. Estimate: SEK 20 000 – 30 000 / EUR 1 960 – 2 940
93. Hans–Agne Jakobsson (Sweden, 1919–2009), a pair of table lamps, ‘Sonata’, model C3045/A1, Hans–Agne Jakobsson AB Markaryd, 1960–1970s. Brass, shades in tubular smoke coloured glass, maker’s mark, height 65 cm, width 41 cm. Estimate: SEK 6 000 – 8 000 / EUR 590 – 790
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T H E E S TAT E O F BARBRO AND LARS ANDERSSON Barbro Andersson was only 24 years old when she acquired the property by Djulösjön outside Katrineholm in Södermanland. The modern house she and her husband Lars eventually built was strongly influenced by the Danish modernist architecture that the young couple met in Denmark and Skåne and fell in love with. In 1979, it was time for them to build the house of their dreams. The design and fashion-loving couple filled the house with exciting form and design, an interest that came to follow them over the years. Already in 1962, they bought the three iconic PK25 armchairs, designed by Poul Kjaerholm and which in the new home were placed directly as an eye-catcher just inside the entrance. Already the following year, the pair ‘Scimitar armchairs’ by Fabricius & Kastholm were bought and then they continued with Arne Norell’s ‘Ari’ and ‘Inka’ along with other exciting designer objects, especially Italian lamps. Josef Frank said that a home should never be finished and it also seems to have been this family’s guiding light. The latest furniture was purchased for the home in the early 2000s. The collection will be sold at three auctions this autumn: the theme auction E803 ‘Vi satte bo år 1962’ (online only) and at the two live auctions Contemporary Art & Design on 2 November and the Modern Art + Design auction on 17-18 November. The collection includes lots 94–104. 104. Maarten Van Severen (Belgium, 1956–2005), an ‘LCP’ easy chair, Kartell, Italy post 1997.
A N D E R S S O N , K AT R I N E H O L M , S W E D E N
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94. Arne Norell (Sweden, 1917–1971), a pair of black leather ‘Ari’ lounge chairs, Möbel AB Arne Norell, 1960–1970s. Base of steel. Height 74 cm, seat height ca 32 cm. Provenance: Barbro & Lars Andersson, Katrineholm, Sweden.
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
95. Arne Norell (Sweden, 1917–1971), a pair of black leather ‘Ari’ lounge chairs, Möbel AB Arne Norell, 1960–1970s. Steel base. Height 74 cm, seat height ca 32 cm. Provenance: Barbro & Lars Andersson Collection.
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
96. Arne Norell (Sweden, 1917–1971), a black leather ‘Ari’ lounge chair, Möbel AB Arne Norell, 1960–1970s. Base of steel. Height 74 cm, seat height ca 32 cm. Provenance: Barbro & Lars Andersson Collection.
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
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97. Achille Castiglioni (Italy, 1918–2002), & Pier Giacomo Castiglioni, a ‘Taccia Dimmer Muvis’ table lamp, Flos, Italy post 1962. Black aluminium base, adjustable glass shade with a white metal disc, maker’s label, height ca 53 cm. Provenance: Barbro & Lars Andersson Collection.
Estimate: SEK 6 000 – 8 000 / EUR 590 – 790
98. Lars and Christina Andersson, a black leather ‘Inka’ chair, Sweden 1980s. Maker’s mark to the leather, chrome plated base. Height 128 cm, seat height ca 36 cm. Provenance: Barbro & Lars Andersson Collection.
Estimate: SEK 6 000 – 8 000 / EUR 590 – 790
99. Jørgen Høvelskov (Denmark, 1935–2005), a black lacquered ‘Harp’ chair, Christensen & Larsen, Copenhagen, Denmark 1970–1980s. Black lacquered ash, seat of cord. Height ca 130 cm. Provenance: Barbro & Lars Andersson Collection.
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
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100. Börge Lindau (Sweden, 1932–1999), & Bo Lindercrantz, a pair of ‘Plankan’ chairs, Lammhults Möbel AB, Sweden 1980s. Swivel base in metal, chrome plated tubular steel, seat and neck rest in leather, height 110 cm. Provenance: Barbro & Lars Andersson Collection.
Estimate: SEK 10 000 – 15 000 / EUR 980 – 1 470
101. Tom Dixon (Great Britain, 1959–), an ‘S–Chair’, Cappellini, Italy, post 1991. Steel base, woven marsh straw seat, height 101 cm. Provenance: Barbro & Lars Andersson Collection.
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
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102. Vico Magistretti (Italy, 1920–2006), two floor lights, ‘Chimera’ and ‘Mezza–Chimera’, Artemide, Italy. Plastics and aluminium. Height ca 182 cm, and 78 cm. Provenance: Barbro & Lars Andersson Collection.
Estimate: SEK 5 000 – 6 000 / EUR 490 – 590
103. Tobia Scarpa (Italy, 1935–), a marble table light ‘Biagio’, Flos, Italy. Height 34 cm, length 40 cm. Provenance: Barbro & Lars Andersson Collection. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
104. Maarten Van Severen (Belgium, 1956–2005), an ‘LCP’ easy chair, Kartell, Italy post 1997. One piece of moulded pink translucent Pmma plastic, metal feet, height 65,5 cm. Provenance: Barbro & Lars Andersson Collection.
Estimate: SEK 5 000 – 6 000 / EUR 490 – 590
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THE WILD AND THE VIVID 1970s. During an exciting period around the decade 1970, architects and designers were given the opportunity, thanks to new materials and processes, to create objects and interiors that had previously been impossible to realize. The period is a highly eventful time in Swedish furniture history. It transformed our view on how we use and relate to furniture as functional objects and sculptures. The possibilities seemed endless and the conditions for furniture designers, manufacturers and sellers were changed to the core (while at the same time Swedish homes were being furnished and decorated like never before). Some really stretched the boundaries and created unforgettable design classics for posterity. In a time when many furniture factories were forced to close down, the desire was to get noticed at fairs or in shops. Manufacturers therefore encouraged their designers to create sensational furniture, so–called ‘fair bombshells’. The results were colourful, sculptural interiors with seating cut from, amongst other things, blocks of foam rubber, moulded plastics, Styrofoam, chipboard and asbestos cement! The collection includes lots 105–124.
105. Henrik Thor–Larsen (Denmark, 1932–), an ‘Ovalia’ easy chair and ottoman, Torlan AB, Sweden 1960–1970s.
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105. Henrik Thor–Larsen (Denmark, 1932–), an ‘Ovalia’ easy chair and ottoman, Torlan AB, Sweden 1960–1970s. Fiberglass reinforced plastic, green velvet uppholstery, aluminium base. Height of easy chair, ca 130 cm, width ca 95 cm, depth ca 95 cm. Ottoman, height 41 cm, diameter 59 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Litterature: Siesing, Andreas, Svenska 70-talsmöbler: i plast, stål, furu och manchester 1969-1980, Lindelöws bokförlag, Göteborg, 2021, p. 311.
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
106. Henrik Thor–Larsen (Denmark, 1932–), a rare ‘Puzzle’ modular system, 7 pcs, Torlan Industri AB, Staffanstorp, Sweden 1970s. Glassfiber reinforced plastic moduls. Mounted on wall. A sofa consisting of 3 parts, each modul 58x58 cm, height 77cm. A shelf and chair, each modul 58x58 cm, height 77 cm. A shelf and wall decoration in red, each modul 58x58 cm, height 11 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p. 311.
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
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107. Thomas Fränninge (Sverige 1946–), a ‘Drake’ lounge chair, IKEA, post 1971. Glass fiber reinforced plastic, chrome plated tubular steel, brown corduroy, height 74 cm, length 160 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p 147.
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
108. Ib Arberg (Denmark, 1941–), a hanging chair, ‘Gojan’, ABRA Möbler, Sweden 1970s. Black lacquered steel base, hanging seat in chrome plated tubular steel, loose cushions and seat in brown textile, seat height ca 35 cm, height 165 cm, width 97 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p. 309.
Estimate: SEK 10 000 – 15 000 / EUR 980 – 1 470
109. Jan–Eric Bengtsson, a modular sofa and easy chair, ‘Bossanova’, for Scapa Industri AB, Sweden 1970s. The sofa comes in three parts, chrome plated tubular metal feet, striped textile, height 68 cm, length 200 cm. The easy chair, height 68 cm, width 82 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70-talsmöbler: i plast, stål, furu och manchester 1969-1980, Lindelöws bokförlag, Göteborg, 2021.
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
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110. Bra Bohag AB, ‘Konsul’, a pair of tables, 1960s–1970s. White lacquered wooden base, enamelled top, brass details, height 50 cm, 50 x 74 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p. 68.
Estimate: SEK 4 000 – 6 000 / EUR 400 – 590
111. Gillis Lundgren (Sweden, 1929–2016), an easy chair, ‘Lucas’, IKEA, Sweden 1970s. Chrome plated tubular steel, orange textile seat, height 90 cm, length 155 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p. 358. Pictured on the front of the IKEA catalogue 1974/75.
Estimate: SEK 6 000 – 8 000 / EUR 590 – 790
112. Gillis Lundgren (Sweden, 1929–2016), a ‘Sirius’ swivel base easy chair, IKEA, Sweden 1970s. Glass fiber reinforced polyester, swivel base in chrome plated metal, red corduroy seat, seat height ca 30, height 53 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p. 85. Pictured on the front of the IKEA catalogue 1974/75.
Estimate: SEK 5 000 – 6 000 / EUR 490 – 590
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113. Robert Tillberg (Sweden, 1920–2013), a pair of ‘Buddha’ easy chairs for Viskadalens Möbelindustri, Kinna, Sweden 1970s. Shell made of polystyren, Seat in white leather, height 88 cm, seat height 37, width 105 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p. 94.
Estimate: SEK 6 000 – 8 000 / EUR 590 – 790
114. Ingvar Skoog (Sverige 1928–1999) & Tage Georg, a ‘Super 73’ easy chair, Swedfurn, AB Slätte Möbler AB, post 1971. Vacuum shaped styrene plastic on a swivel base, brown textile cushion seat, height 100 cm, seat height 30, width 70 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p. 133. Super 73 was also depicted in a full–page advertisement in the magazine Interiör’s first issue in 1972.
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
115. Ingvar Skoog (Sverige 1928–1999), a ‘Super 72’ easy chair, Swedfurn AB Slätte Möbler, post 1971. Base in white styrene plastic, loose cushion, height 70 cm, seat height 32 cm, width 72 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p. 134.
Estimate: SEK 4 000 – 5 000 / EUR 400 – 490
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116. Folke Müller, a daybed/sofa, ‘Sittvila 301’, Celluloidindustri AB, Gislaved, Sweden 1960s. Base made out of one block of polyether cut in two, cotton fabric designed by Ritwa Wahlström, height 35–70 cm, length 200 cm, width 100–170 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p 239.
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
117. Ruud Ekstrand & Christer Norman, a ‘Formula’ table, Dux AB, Sweden 1960s–1970s. Top in ‘Perstorpsplatta’, white laminate with a red stripe, base in chrome plated tubular steel, height 65 cm, diameter 120 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p. 476.
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
118. Pethrus Lindlöf, a pair of ‘Flamingo’, chairs, AB Lindlöfs Möbler, Lammhult, Sweden 1970s. Chrome plated tubular steel, leather seat and armrests, height 67 cm, height 42 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p. 464.
Estimate: SEK 10 000 – 15 000 / EUR 980 – 1 470
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119. Arne Norell (Sweden, 1917–1971), a ‘Scandi’, easy chair and ottoman, Norell Möbel AB, Sweden 1970s. Base in laminated ash, seat and neck cushion in leather, height 82 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’. Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p 156.
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
120. Uno & Östen Kristansson (Sweden, 1925–2009), a pair of lounge chairs, Luxus, Sweden 1970s. Lacquered pine, cushions upholstered with black corduroy, 94 x 86 cm, height 80 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’.
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
121. Uno & Östen Kristansson (Sweden, 1925–2009), a pair of lounge chairs, Luxus, Sweden 1970s. Lacquered pine, the cushions upholstered with black corduroy, 94 x 86 cm, height 80 cm Provenance: Part of the curated collection ‘The wild and the vivid 1970s’.
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
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122. Eric Sigfrid Persson (Sweden, 1906–1992), a ‘Flytande Design’ lounge chair and ottoman from Möbelkultur AB, Sweden, post 1972. Aluminium, black leather seat and neck rest, total length 175, height 80 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’.
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
123. Eric Sigfrid Persson (Sweden, 1906–1992), a ‘Flytande Design’ lounge chair and ottoman from Möbelkultur AB, Sweden, post 1972. Aluminium, black leather seat and neck rest, total length 175, height 80 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’.
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
124. Jan Ekselius (Sweden, 1946–), a modular sofa, ‘Etcetera Modul’, J.O. Carlssons Möbel AB, Vetlanda, Sweden 1970s. 3 straight and 3 angled modules, elements of urethane, blue textile cover, black plastic feet, each module ca 68 cm wide, total width ca 400 cm, height 65 cm, seat height 30–35 cm. Provenance: Part of the curated collection ‘The wild and the vivid 1970s’.
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
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125. Georg Oddner (Sweden, 1923–2007), ‘Den dansande matrosen, Kiev’, 1955. Signed Georg Oddner. Also signed verso. Gelatin silver print, image 24.3 x 33.6 cm. Sheet 30 x 40 cm. Provenance: A gift from the photographer to the present owner. Literature: Georg Oddner, ‘Närvarande’, 1984, illustrated on spread p. 14–15. Georg Oddner, “Georg Oddner: fyra kapitel. Fotografier 1996–1951”, Hasselblad Center, 1996, illustrated on p. 21. Georg Oddner and Marianne Höök, “Georg Oddner. Genomresa”, 2003, illustrated on fullpage p. 155. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
126. Dawid (Björn Dawidsson) (Sweden, 1949–), ‘B013 from the series Merit’, 2006. Signed Dawid and dated 2006. Numbered 2/5 on label verso. Vintage. Pigment print 97.5 x 82 cm including the artist’s frame. Literature: Dawid and Steven Henry Madoff, ‘Dawid– This is a photograph’, 2015, compare image p. 348. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
127. Nick Brandt (Great Britain, 1966–), ‘Cheetah Looking Out over Plains, Masai Mara, 2004’. Signed Nick Brandt and numbered 14/20. Archival pigment print, image 44 x 68 cm. Including frame 68 x 93 cm. Provenance: Hasted Kraeutler Gallery, New York. Literature: Nick Brandt, ‘On this Earth, a Shadow Falls’, 2010, illustrated pl. 53. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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128. Michel Comte (Switzerland, 1954–), ‘Beauty & Beast’, 1996. Signed Michel Comte and numbered 1/3 verso. Gelatin silver print 120 x 150 cm. Estimate: SEK 125 000 – 150 000 / EUR 12 250 – 14 700
129. Ewa–Marie Rundquist (Sweden, 1958–), ‘Sun 1, no 1’, 2020. Signed Ewa–Marie Rundquist and numbered 1/15 on label verso. Archival Pigment print, image 70.5 x 50.5 cm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
130. Annie Leibovitz (USA, 1949–), ‘Keith Richards, San Francisco, CA, 1972’. Signed Annie Leibovitz and numbered 5/40. Gelatin silver print, image 32 x 22 cm. Including frame 60 x 47.5 cm. Provenance: James Danziger Gallery, New York. Stockholms Auktionsverk, Nutida May 2015, Lot No 1109.
Estimate: SEK 70 000 – 90 000 / EUR 6 860 – 8 820
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131. Anders Krisár (Sweden, 1973–), ‘Untitled #1’, 2005. From the series ‘Chords’. Signed Krisar and numbered 2/3 verso. Analogue C–print mounted to aluminum 112 x 140 cm. Provenance: Directly from the artist to the present owner. Literature: Anders Krisar, ‘Anders Krisar’, 2011, illustrated on fullpage p. 161. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
132. Nathalia Edenmont (Sweden, 1970–), ‘Just a Dream’, 2016. Signed N Edenmont and numbered 3/6 verso. C–print mounted to glass and framed 150 x 163 cm including frame. Exhibitions: Another example exhibited: Flint Institute of Arts, Flint Michigan, USA, “Beauty and Pain: Photographs by Nathalia Edenmont”, 9 May - 16 August 2020. Stamford Museum & Nature Center, Stamford, USA, “Beauty and Pain: Photographs by Nathalia Edenmont”, 20 September - 3 November 2019. Literature: John B. Henry and Amy Pleasant e.a, “Beauty and Pain: Photographs by Nathalia Edenmont”, 2019, illustrated. (d)
Estimate: SEK 140 000 – 160 000 / EUR 13 720 – 15 670
133. Maria Friberg (Sweden, 1966–), ‘Commoncause’, 2008. Signed Maria Friberg and numbered AP 2/3 verso. Total edition of 10 + 3 AP. C–print, wood, laminate 46 x 63 cm. Provenance: Galleri Charlotte Lund, Stockholm. Private Collection, Stockholm. Literature: Maria Friberg, ‘Maria Friberg’, 2008, illustrated on pl. 2. Maria Friberg, ‘Maria Friberg’, 2015, illustrated on p. 47. (d)
Estimate: SEK 20 000 – 30 000 / EUR 1 960 – 2 940
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134. Maria Miesenberger (Sweden, 1965–), ‘Utan titel (Början)’, 1992–2000. From the series ‘Sverige/Schweden’, 1992–2000. Signed Maria Miesenberger verso. Edition of 5. Gelatin silver print 58 x 81.5 cm including the artist’s frame. Literature: Maria Miesenberger, ‘Sverige/Schweden’, 2011, illustrated on spread pl 004. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
135. Aida Chehrehgosha (Sweden, 1979–), ‘I can’t stop thinking Black Thoughts 2’, 2015. Signed and dated 2015 and numbered AP 1 on label verso. Total edition of 5 + 1 AP. Pigment print 98 x 122 cm including frame. Provenance: Lars Bohman Gallery, Stockholm. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
136. Albin Biblom (Sweden, 1975–), From the series ‘Curiosity and Control’, 1998. Signed Albin Biblom and dated 2019 and numbered 1/5 verso. Gelatin silver print mounted in an insect collection box from Museum für Naturkunde, Berlin, 51 x 42 x 7 cm. Exhibitions: Galleri Axel, Stockholm, ‘Curiosity And Control’, 21 February – 23 March 2019. Dunkers kulturhus, Helsingborg, ‘Albin Biblom – Swedish Photography Award 2019 by Sandeng’, 20 October 2019 – 9 February 2020. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
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137. Torbjörn Calvero (Sweden, 1949–2016), ‘Robert Plant, Jimmy Page/Led Zeppelin, Earl’s Court London, 23/5 1975’. Stamped by the Calvero Estate on verso. Printed later. Edition 4/9 + 2 AP. Analogue C-print mounted to dibond and framed, image 125 x 190 cm. Literature: Torbjörn Calvero and Christer Olsson, ‘Från Abba till Zeppelin. Calveros 70–tal’, illustrated on the cover. (d)
Estimate: SEK 50 000 – 60 000 / EUR 4 900 – 5 880
138. Albert Watson (Great Britain, 1942–), ‘David Bowie, The Finger, New York City, 1996’. Signed Albert Watson and numbered 5/25 verso. Gelatin silver print, image 61 x 46.5 cm. (d)
Estimate: SEK 70 000 – 90 000 / EUR 6 860 – 8 820
139. Luis Gispert (USA, 1972–), ‘B17’, 2009. Signed L Gispert and numbered 3/6 verso. C–print mounted to acrylic glass and framed, 126.5 x 215 cm including frame. Provenance: Mary Boone Gallery, New York. Lindqvist Contemporary, Stockholm. Acquired from the above by the present owner.
Estimate: SEK 100 000 – 150 000 / EUR 9 800 – 14 700
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140. Hasse Persson (Sweden, 1942–), ‘Say Cheese Larry’, 1980. Signed Hasse Persson. C–print 50 x 160 cm. Literature: This motif was illustrated on the cover to the american art magazine Cabinet, 2008. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
141. Nick Brandt (Great Britain, 1966–), ‘Zebras Crossing Lake, Ngorongoro Crater, 2000’. Signed Nick Brandt and numbered 11/20. Archival pigment print, image 40 x 74.5 cm. Provenance: Acquired directly from the photographer. Stockholms Auktionsverk, Nutida, November 2015. Literature: Nick Brandt, ‘On this Earth, a Shadow Falls’, 2010, illustrated pl. 33. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
142. David LaChapelle (USA, 1963–), ‘Negative Currency: Ten Dollar Bill’, 1990–2008. Signed on label verso. Edition 1/5. Digital C–print mounted to acrylic glass and framed, image 76 x 178 cm. Provenance: Wolfgang Roth and Partners Fine Art, Miami.
Estimate: SEK 175 000 – 200 000 / EUR 17 140 – 19 590
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143. Daisuke Yokota (Japan, 1983–), ‘Untitled (from the series GLASS)’, 2019. Signed certificate accompanies the work. Edition 3 + 1 AP. Digital UV print on glass mounted in a box of acrylic glass 100 x 74 cm. Provenance: Kominek Gallery, Berlin.
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
144. Blaise Reutersward (Sweden, 1961–), ‘Deutsche Landschaft 1210’, 2012. Signed BLAISE REUTERSWARD and dated Berlin 2015 and numbered 2/5 verso. Total edition of 5 + 2 AP. Analogue C–print diasec mounted and framed 184 x 225 cm including frame. Exhibitions: Camera Work, Berlin, ‘Aktstudien und Deutsche Landschaften’, 23 August – 12 October 2013. Galleri Mårtenson & Persson, Båstad, ‘21 konstnärer’, July 2014. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
145. Torbjörn Calvero (Sweden, 1949–2016), ‘Mick Jagger, Bremen, 1976’. Signed Calvero and numbered 6/10. Pigment print, image 70 x 48 cm. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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146. Gunnar Smoliansky (Sweden, 1933–2019), ‘Slussen’, 1952. Signed Gunnar Smoliansky verso. Printed by the photographer. Gelatin silver print, image 26 x 26.5 cm. Provenance: Acquired directly from the photographer by the present owner. Literature: Gunnar Smoliansky, Hans Henrik Brummer and Carl Johan Malmberg, ‘ Gunnar Smolianskys fotografier från Slussen i Stockholm 1952’, 2002, illustrated. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
147. Gunnar Smoliansky (Sweden, 1933–2019), ‘Slussen’, 1952. Signed Gunnar Smoliansky verso. Printed by the photographer. Gelatin silver print, image 26.5 x 26.5 cm. Provenance: Acquired directly from the photographer by the present owner. Literature: Estelle af Malmborg (ed.), ‘Contemporary Swedish Photography’, 2012, illustrated on fullpage p. 160. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
148. Gunnar Smoliansky (Sweden, 1933–2019), ‘Slussen’, 1952. Signed Gunnar Smoliansky verso. Printed by the photographer. Gelatin silver print, image 26 x 26.5 cm. Provenance: Acquired directly from the photographer by the present owner. Literature: Gunnar Smoliansky, Hans Henrik Brummer and Carl Johan Malmberg, ‘Gunnar Smolianskys fotografier från Slussen i Stockholm 1952’, 2002, illustrated. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
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149. Bruno Ehrs (Sweden, 1953–), ‘Hollywood L.A/Café Opera Stockholm’, 2020. Signed Bruno Ehrs and numbered 01/10. Pigment print on acid free cotton paper, image 127 x 95 cm. Exhibitions: Abecita Popkonst & Foto, Borås, ‘Bruno Ehrs – On Demand’, 10 October – 19 January 2020. Tres Hombres Art Gallery, Halmstad, ‘Good Vibrations’, 2 July – 31 August 2021. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
150. Anders Krisár (Sweden, 1973–), ‘Janus (3)’, 2006. Signed Krisár and numbered 1/3 verso. C–print, mounted to aluminum and framed 145 x 184 cm including frame. Literature: Anders Krisar, ‘Anders Krisar’, 2011, illustrated on fullpage p. 151. (d)
Estimate: SEK 70 000 – 80 000 / EUR 6 860 – 7 840
151. Maria Friberg (Sweden, 1966–), ‘The Painting Series #1’, 2011. Signed Maria Friberg and numbered 2/3 verso. C–print mounted to aluminum and glass 154 x 158 cm. Provenance: Fotografiska, Stockholm. Tom Böttiger Collection, Stockholm. Literature: Maria Friberg, ‘Changed Positions’, 2015, illustrated on p. 37. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
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152. Dawid (Björn Dawidsson) (Sweden, 1949–), ‘P 1371’, 1984. Signed. Executed in 1985. Vintage. Gelatin silver print, image 22.7 x 19.4 cm. Including artist’s frame 45.5 x 37.5 cm. Literature: Dawid and Steven Henry Madoff, ‘Dawid – This is a photograph’, 2015, illustrated on fullpage p. 134. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
153. Helena Blomqvist (Sweden, 1975–), ‘Le Petit Soldat’, 2007. From the series ‘The Last Golden Frog’. Signed Helena Blomqvist and numbered 6/6 verso. A total edition of 6 + 2 AP. C–print mounted to glass 124.5 x 99 cm. Provenance: Angelika Knäpper Gallery, Stockholm. Tom Böttiger Collection, Stockholm. Literature: Helena Blomqvist, ‘The Last Golden Frog’, 2008, illustrated on spread. Angelika Knäpper Gallery, ‘Helena Blomqvist’, 2012, illustrated on fullpage. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
154. Martin Bogren (Sweden, 1967–), ‘Untitled, 2008’. From the series ‘Ocean’. Signed Martin Bogren and numbered 4/5 verso. Archival pigment print, image 99 x 77 cm. Provenance: Tom Böttiger Collection, Stockholm. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
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159. Lennart Nilsson (Sweden, 1922–2017), ‘Ingrid Bergman, Paris, 1957’. Signed Lennart Nilsson. Edition 3/4. Printed in 2012. Gelatin silver print selenium toned, image 46 x 45 cm. (d) Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
160. Lennart Nilsson (Sweden, 1922–2017), ‘Ekvatorstaden, Kongo, 1948’. Signed Lennart Nilsson. Edition 7/18. Printed in 2013. Gelatin silver print selenium toned, image 50 x 45 cm. (d) Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
LENNART NILSSON Swedish photographer Lennart Nilsson (1922–2017) is world famous. He was the first in history to photograph a human foetus inside the womb. Nilsson’s experiments with electron microscopes and endoscopes, combined with further techniques, gave him the possibility to create high–resolution images of the development of life. The project was begun in 1953 and took Nilsson twelve years to complete. Lennart Nilsson’s A Child is Born represented a major breakthrough in medical photography. In 1965 American LIFE Magazine published his 16–page feature ‘The Drama of Life Before Birth’. Together with the issues about the assassination of John F. Kennedy (1963) and ‘the Moon Landing’ (1969) it is the magazine’s fastest selling issue ever. His book A Child is Born was first published in 1965 and has sold more than 30 million copies. It has been published in five editions and translated into at least twenty languages. That same year he was awarded the Photographer of the Year Award, by the American Society of Magazine Photographers. The images have been shown in exhibitions across the world and could, for example, be viewed at Abecita Popkonst & Foto in Borås during the spring of 2016. At the same time as becoming one of the most successful feature photographers in the world Nilsson also had an equally successful career as a science photographer. He collaborated with Gillis Häägg (1931–2015) on many of his large projects. Häägg was a pioneer of colour photography in Europe and known as the man who – when he wasn’t teaching colour theory at the University of Gothenburg – coloured Lennart Nilsson’s scientific photographs.
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The collaboration with Nilsson began in 1969 when they met in Oslo at one of Häägg’s lectures on his unique take on colouring technique. It was the start of a professional relationship that lasted for almost forty years. Nilsson’s fascinating photographs from the micro world were photographed using an electron microscope and could only be reproduced through the microscope in a black and white grey–scale. The four images in the auction from A Child is Born were all executed using the Cibachrome process, an advanced colour printing technique with very good durability. Before the work on the start of life Nilsson shot, amongst other things, a feature where he photographed the world famous actor Ingrid Bergman in Paris. The photograph of her in the auction has been shown at, for example, Stene Projects, Stockholm in the autumn of 2015, and at Fabriken Bästekille in a major retrospective in 2017. In 1948 Lennart Nilsson and journalist Svante Löfgren were commissioned by the photo agency Black Star to travel to the Congo. Two months work resulted in dozens of features that were sold to an array of international photo journals. Some of Nilsson’s images were selected by Edward Steichen to be part of the legendary exhibition ‘Family of Man’ at MoMA in New York in 1955. The image of the man drinking water was one of these. The exhibition, which through the years toured more than 150 places around the world, has been estimated to have been seen by over 10 million visitors. In 1980 Nilsson was awarded the Hasselblad Prize. He is represented in several of the world’s biggest and most important museums, including the British Museum in London, Tokyo Fuji Art Museum, Museum of Modern Art in New York, Nationalmuseum and Moderna Museet, both in Stockholm.
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155. Lennart Nilsson (Sweden, 1922–2017), ‘Rymdfararen’, 1965. From ‘Ett barn blir till’. Signed Lennart Nilsson. Cibachrome, image 39 x 39 cm. (d) Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
157. Lennart Nilsson (Sweden, 1922–2017), ‘Tumsugaren’, 1965. From ‘Ett barn blir till’. Signed Lennart Nilsson. Cibachrome, image 39 x 39 cm. (d) Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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155. Lennart Nilsson (Sweden, 1922–2017), ‘Rymdfararen’, 1965. From ‘Ett barn blir till’. Signed Lennart Nilsson. Cibachrome, image 39 x 39 cm. Literature: Lennart Nilsson and Lars Hamberger, ‘Ett barn blir till’, 1995, illustrated on fullpage p. 106. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
156. Lennart Nilsson (Sweden, 1922–2017), From ‘Ett barn blir till’, 1965. From ‘Ett barn blir till’. Signed Lennart Nilsson. Cibachrome, image 39 x 39 cm. Literature: Lennart Nilsson and Lars Hamberger, ‘Ett barn blir till’, 1995, illustrated. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
157. Lennart Nilsson (Sweden, 1922–2017), ‘Tumsugaren’, 1965. From ‘Ett barn blir till’. Signed Lennart Nilsson. Cibachrome, image 39 x 39 cm. Literature: Lennart Nilsson and Lars Hamberger, ‘Ett barn blir till’, 1995, illustrated on fullpage p. 134. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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158. Lennart Nilsson (Sweden, 1922–2017), From ‘Ett barn blir till’, 1965. From ‘Ett barn blir till’. Signed Lennart Nilsson. Cibachrome, image 39.5 x 50 cm. Literature: Lennart Nilsson and Lars Hamberger, ‘Ett barn blir till’, 1995, illustrated. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
159. Lennart Nilsson (Sweden, 1922–2017), ‘Ingrid Bergman, Paris, 1957’. Signed Lennart Nilsson. Edition 3/4. Printed in 2012. Gelatin silver print selenium toned, image 46 x 45 cm. Provenance: Directly from the photographer by the present owner. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
160. Lennart Nilsson (Sweden, 1922–2017), ‘Ekvatorstaden, Kongo, 1948’. Signed Lennart Nilsson. Edition 7/18. Printed in 2013. Gelatin silver print selenium toned, image 50 x 45 cm. Provenance: Directly from the photographer by the present owner. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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161. Lennart Nilsson (Sweden, 1922–2017), ‘Louis Armstrong, Umeå, 1959’. Signed Lennart Nilsson. Edition 1/5. Printed in 2013. Gelatin silver print selenium toned, image 46.5 x 69.5 cm. Provenance: Acquired directly from the photograper by the present owner. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
162. Georg Oddner (Sweden, 1923–2007), ‘Samtal i Sommarparken, Leningrad, USSR, 1955’. Signed Georg Oddner on verso. Dedication and copyright stamp verso. Gelatin silver print 21 x 28.6 cm. Provenance: A gift from the photographer to the present owner. Literature: Georg Oddner, ‘Närvarande’, 1984, illustrated on fullpage p. 26–27. Georg Oddner and Marianne Höök, ‘Georg Oddner. Genomresa’, 2003, illustrated on spread p. 432–433. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
163. Hans Hammarskiöld (Sweden, 1925–2012), ‘Sjuglasvagnen’, 1980. Signed Hans Hammarskiöld and numbered 19/50 on the mount. Cibachrome laid down on cardboard, image 29.5 x 39.5 cm. Literature: Hans Hammarskiöld & Niklas Rådström, ‘Stockholm – De fyra årstiderna’, 1997, illustrated. Kurt Mälarstedt, ‘Foto Hammarskiöld – Tiden och ljuset’, 2008, illustrated on spread p. 196–197. (d)
Estimate: SEK 6 000 – 8 000 / EUR 590 – 790
164. Bruno Ehrs (Sweden, 1953–), ‘Carl XVI Gustaf, Skeppsholmen, maj 2002’. Signed Bruno Ehrs and numbered 41/50. Printed later. Pigment print, image 81 x 64 cm. Sheet 111 x 91 cm. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
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165. Christer Strömholm (Sweden, 1918–2002), ‘Paris, 1962’. Signed CHR and with finger print verso. Also signed verso by the printer Örjan Kristensen and dated –97. Gelatin silver print, image 33.2 x 24 cm. Sheet 40.3 x 30.3 cm. Literature: Lars Hall and Gunilla Knape (ed.), ‘Imprints by Christer Strömholm – CHR. The Hasselblad Award 1997’, 1998, illustrated on p. 27. Joakim Strömholm and Jakob Strömholm, ‘Christer Strömholm 1918–2002, On verra bien’, 2002, illustrated on p. 35. Moderna Museet, ‘En annan historia’, 2011, avbildad bild 96. Joakim Strömholm (red), ‘Post Scriptum Christer Strömholm’, 2012, avbildad sid 99. (d)
Estimate: SEK 125 000 – 150 000 / EUR 12 250 – 14 700
166. Irving Penn (USA, 1917–2009), ‘Nude’, 1949–1950. Signed Irving Penn verso. Presumably edition 3/13. Stamped ‘Photograph by Irving Penn, Copyright 1980 by The Condé Nast Publications Inc.’ verso. Gelatin silver print, image 39.8 x 37.8 cm. Sheet 50.8 x 40.3 cm. Provenance: Marlborough Galleries, New York. Karin & Lars Hall Collection. Exhibitions: Skövde Konstmuseum, ‘Irving Penn, Fotografier’, 2 June – 4 August 2007. Liljevalchs Konsthall, Stockholm, ‘396 Fotografiska förälskelser’, 16 June – 19 August 2001.
Estimate: SEK 100 000 – 150 000 / EUR 9 800 – 14 700
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167. Tova Mozard (Sweden, 1978–), ‘America’, 2003. Signed Tova Mozard on label verso. Edition 1/5. C–print, image 49 x 61 cm. Provenance: ALP/Peter Bergman, Stockholm. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
168. Hanna Lidén (Sweden, 1976–), ‘Ghost’, 2012. A signed certificate issued by Maccarone, New York, accompanies the work. Edition 1/3 + 1 AP. C–print mounted on sintra 90 x 75 cm. Provenance: Maccarone, New York. Carl Kostyal, Stockholm. Exhibitions: Carl Kostyal, Isbrytaren, Stockholm, ‘Awaiting immanence’, 19 April - 19 May 2013. (d)
Estimate: SEK 40 000 – 60 000 / EUR 3 920 – 5 880
169. Anders Krisár (Sweden, 1973–), ‘Flesh Cloud, (photogram # 3)’, 2014. Signed Krisár and numbered 1/1 verso. C–print, 184 x 128 cm including frame. Provenance: Christian Larsen, Stockholm. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
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170. Miriam Bäckström (Sweden, 1967–), ‘Mirrors’, 2006–2011. Signed certificate accompanies the work. Unique, no other editions. Mirror, glass, aluminum, cibachrome photograph. Diameter 120 cm. Provenance: Galleri Niklas Belenius, Stockholm. Exhibitions: Galleri Niklas Belenius, Stockholm, ‘Miriam Bäckström – Mirrors’, 1 October – 25 October 2009. (d)
Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
171. Sirous Namazi (Sweden, 1970–), ‘Utan titel’, 2002. Signed Sirous Namazi on label verso. Edition 4/10. C–print 72 x 72 cm including frame. Provenance: Galleri Magnus Åklundh, Malmö. Literature: Carnegie Art Award Publication, 2006, another example illustrated on p. 101. (d)
Estimate: SEK 20 000 – 30 000 / EUR 1 960 – 2 940
172. Esko Männikkö (Finland, 1959–), ‘Utajärvi’, 1999. Signed Esko Männikkö and numbered 3/20 verso. C–print, 92 x 110 cm including the artist’s frame. Provenance: Galerie Rodolphe Janssen, Bruxelles. Galleri Nordenhake, Berlin. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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173. Jan Svenungsson (Sweden, 1961–), ‘Torn 5’, 1990. Signed Svenungsson and dated 1990 verso. Gelatin silver print 240 x 75 cm including the artist’s frame. (d)
Estimate: SEK 40 000 – 60 000 / EUR 3 920 – 5 880
174. Ewa–Marie Rundquist (Sweden, 1958–), ‘Vallmo nr 30’, 2015. Signed Ewa–Marie Rundquist and dated 2015 and numbered 1/1 verso. Archival pigment print, image 96 x 65.5 cm. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
175. Leif–Erik Nygårds (Sweden, 1939–), ‘Marilyn Monroe and Norma Jeane Baker photographed in Los Angeles at Bel Air Hotel, June 27th 1962’. Signed Leif–Erik Nygårds and numbered 8/24 verso. Printed later. Pigment print, image 68 x 100 cm. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
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176. Nick Brandt (Great Britain, 1966–), ‘Giraffe Fan, Aberdares, 2000’. Signed Nick Brandt and numbered 3/25. Platinum palladium print, image 70 x 70 cm. Sheet 80 x 75 cm. Provenance: Fahey/Klein Gallery, Los Angeles. Literature: Nick Brandt, ‘On this Earth, a Shadow Falls’, 2010, illustrated on pl. 67. (d)
Estimate: SEK 100 000 – 125 000 / EUR 9 800 – 12 250
177. Helmut Newton (USA, 1920–2004), ‘SUMO’, 1999. Signed Helmut Newton and numbered 2888/10.000. 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 the original box. This example is still in it’s original wrapping, never opened. Provenance: Taschen, Monte Carlo.
Estimate: SEK 100 000 – 125 000 / EUR 9 800 – 12 250
178. Hasse Persson (Sweden, 1942–), ‘Studio 54’, 1979. Signed Hasse Persson and numbered 12/12. Gelatin silver print, image 66 x 100 cm. Exhibitions: Another example exhibited at: House of Sweden, Washington, ‘Studio 54. Forever.’, 2018. National Nordic museum, Seattle, ‘Studio 54 and Beyond’, 2019. Brooklyn Museum, New York, ‘Night Magic’, 2020. Gallery of Ontario, Toronto, ‘Night Magic’, 2021. Literature: Hasse Persson, ‘Studio 54’, 2014, illustrated on the cover. (d)
Estimate: SEK 45 000 – 50 000 / EUR 4 410 – 4 900
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179. Florian Maier–Aichen (Germany, 1973–), ‘Chamonix–Rue National et le Mont Blanc’, 2007. Signed Florian Maier–Aichen and numbered 1/6 verso. C–print 62.5 x 79.5 cm including frame. Provenance: Blum & Poe, Los Angeles. (d)
Estimate: SEK 100 000 – 150 000 / EUR 9 800 – 14 700
180. Luis Gispert (USA, 1972–), ‘DC–3’, 2010. Signed L Gispert and dated 2010 and numbered 6/6 verso. C–print, 139.4 x 218.2 cm. Provenance: Acquired directly from the photographer. Bukowski Auktioner, Contemporary Art & Design 588, November 2015, Lot No. 216.
Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
181. Clay Ketter (Sweden, 1961–), ‘Lafitte’, 2007. From ‘Gulf Coast Slabs’, 2007. Signed Clay Ketter and numbered 3/3 verso. C–print, diasec, silicon mounted to dibond 100 x 82 cm. Provenance: Galleri Mårtensson & Persson, Stockholm. Stockholms Auktionsverk, Nutida, November 2010. Tom Böttiger Collection, Stockholm. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
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182. David LaChapelle (USA, 1963–), ‘Negative Currency: 50 Yuan used as Negative’, 2010. Signed David LaChapelle on label verso. Edition 3/5. Chromogenic print mounted on plexi and framed, image 76.5 x 175.5 Provenance: Wolfgang Roth & Partners Fine Art, Miami.
Estimate: SEK 200 000 – 225 000 / EUR 19 590 – 22 040
183. Norman Parkinson (Great Britain, 1913–1990), ‘The Looks Your Clothes Depend On’, 1962. Printed later by The Norman Parkinson Archive and Iconic Images. Numbered AP 1/20. C-print, image 80.5 X 80 cm. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
184. Nick Brandt (Great Britain, 1966–), ‘Lioness with Cubs Under Tree, Serengeti, 2004’. Signed Nick Brandt and numbered AP 2/2. Total edition of 8 + 2 AP. Pigment print, image 97 x 103 cm. Including frame 123 x 138 cm. Literature: Nick Brandt, ‘On this Earth, a Shadow Falls’, 2010, illustrated on p. 48. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
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185. Terry O’Neill (Great Britain, 1938–2019), ‘Audrey Hepburn with Dove, St Tropez 1967’. Signed Terry O’Neill and numbered 22/50. Gelatin silver print, image 51 x 33 cm. (d) Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
190. Terry O’Neill (Great Britain, 1938–2019), ‘Brigitte Bardot, Spain, 1971’. Signed Terry O’Neill and numbered 6/50. Also signed by Brigitte Bardot. Gelatin silver print, image 120 x 89 cm. (d) Estimate: SEK 350 000 – 400 000 / EUR 34 280 – 39 180
TERRY O’NEILL We are pleased to present several photographs by the British photographer Terry O’Neill in this sale. Ten of these prints originate from a single collection. From the 1960s and all the way up until his death in 2019 Terry O’Neill photographed numerous film stars and Hollywood celebrities. His career as a photographer began at the English tabloid newspaper the Daily Sketch. A few years later he moved on and worked as a freelance photographer for magazines such as Vogue, Rolling Stone, Time Magazine and Vanity Fair. With his natural and spontaneous approach Terry O’Neill broke with the prevailing style of the 1950s and quickly became popular. Throughout the 1960s and 70s he was one of the most published photographers in the world. O’Neill’s camera has captured everyone from rock stars and politicians to royalty. With his personal and sensitive touch O’Neill’s portraits are often different to how his subjects are normally portrayed. His attitude in regards to his published commissions was always: ‘I want my pictures to tell a story – not sell a story’.
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O’Neill photographed the Rolling Stones and the Beatles as early as 1963 when they were young musicians just on the verge of a breakthrough. Later he followed both Elton John and David Bowie backstage. During the late 1970s he began more and more to take pictures in Hollywood. He both worked and socialised in private with actors and musicians, as well as celebrities. He was, for example, a close friend of Frank Sinatra and would follow him throughout his career, both publicly and privately. O’Neill was married to the actor Faye Dunaway between 1983 and 1987. In 1977, the day after she had won an Oscar (Academy Award) for Best Actress, for the film Network, O’Neill took the famous image that in many ways has come to epitomise Hollywood life. The photo shows Dunaway seated in a decadent pose in front of the pool of The Beverly Hills Hotel. The image is part of The National Portrait Gallery’s collection, which holds as many as eighty of O’Neill’s photographs. In 2011 Terry O’Neill was awarded The Royal Photographic Society’s Centenary Medal and, in 2019, he was appointed Commander of the British Empire (CBE) for his contribution to photography.
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203. Terry O’Neill (Great Britain, 1938–2019), ‘Al Pacino, London, 1995’. Signed Terry O’Neill and numbered 2/50. Gelatin silver print, image 38 x 38 cm. (d) Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
208. Terry O’Neill (Great Britain, 1938–2019), ‘Faye Dunaway, Hollywood, 1977’. Signed Terry O’Neill and numbered AP. Total edition of 50 + 10 AP. C–print mounted to aluminum and framed, image 91 x 91 cm. Including frame 106 x 104 cm. (d) Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
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185. Terry O’Neill (Great Britain, 1938–2019), ‘Audrey Hepburn with Dove, St Tropez 1967’.
186. Terry O’Neill (Great Britain, 1938–2019), ‘Sean Connery, Las Vegas, 1971’.
Signed Terry O’Neill and numbered 22/50. Gelatin silver print, image 51 x 33 cm.
Signed Terry O’Neill and numbered 3/50. Gelatin silver print, image 68 x 44.5 cm.
Provenance: Tres Hombres Art, Halmstad. Private Collection, Sweden. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on fullpage p. 145 and on the cover. (d)
Provenance: Tres Hombres Art, Halmstad. Private Collection, Sweden. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on fullpage p. 80. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
Estimate: SEK 35 000 – 40 000 / EUR 3 430 – 3 920
187. Terry O’Neill (Great Britain, 1938–2019), ‘Amy Winehouse, London, 2008’. Signed Terry O’Neill and numbered 10/50. Gelatin silver print, image 50.5 x 40.5 cm. Provenance: Tres Hombres Art, Halmstad. Private Collection, Sweden. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on fullpage p. 344. (d)
Estimate: SEK 40 000 – 60 000 / EUR 3 920 – 5 880
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189. Terry O’Neill (Great Britain, 1938–2019), ‘Ava Gardner, Arizona, 1973’. Signed Terry O’Neill and numbered 3/50. Gelatin silver print, image 30.5 x 45 cm. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on spread p. 122–123. Provenance: Tres Hombres Art, Halmstad. Private Collection, Sweden. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
188. Terry O’Neill (Great Britain, 1938–2019), ‘Paul Newman, 1973’. Signed Terry O’Neill and numbered 3/50. Gelatin silver print, image 53.5 x 36 cm. Provenance: Tres Hombres Art, Halmstad. Private Collection, Sweden. (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 940 – 3 430
190. Terry O’Neill (Great Britain, 1938–2019), ‘Brigitte Bardot, Spain, 1971’. Signed Terry O’Neill and numbered 6/50. Also signed by Brigitte Bardot. Gelatin silver print, image 120 x 89 cm. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on cover and on fullpage p. 21. (d)
Estimate: SEK 350 000 – 400 000 / EUR 34 280 – 39 180
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DIANE ARBUS Diane Arbus is one of the leading figures within the American black and white photographic tradition. She developed its form and aesthetic into a more personal and artistic form of expression. Her images speak a clear, intimate language and demonstrate the potentiality and power of photography. The story of Arbus is one of a brilliant artistic practice, a tragic ending and a great posthumous success. Diane Arbus mostly photographed people she discovered on her walks around New York City. She looked for her subjects amongst those who lived on the periphery of social acceptance – prostitutes, transvestites, refugees, eccentrics, but she also photographed children, twins, and ordinary people from the middle and working classes in unconventional poses. Her most famous images are from the 1950s and 60s. Arbus had the gift of being able to get her models to open up in front of the camera, photographing them without sentimentalising or ignoring their flaws. She liked and admired her models in a way that was honest. Arbus made contact with people that interested her, slowly gained their trust, and was in this way given permission to stage portraits that are deeply personal and powerful in their outlook. Her working method resembled that of her teacher, Lisette Model, and our own Swedish master, Christer Strömholm. To them photography was not a career, but a way of living. Diane Arbus gets close to her subjects, both literally and emotionally. This is why her portraits are so powerful. What is shocking is the level of intimacy. As she put it, “If I stand in front of something, instead of arranging it, I arrange myself”. Instinctively she found the right perspective to photograph from. Arbus got married at 18 to Allan Arbus, who later became an actor. During the 1940s and 50s they worked together as a successful photography team within the fashion and advertising world, before divorcing in 1959. They had two daughters, Doon and Amy. In parallel Diane Arbus continued with her own photographic practice. And it was after meeting Lisette Model in 1956, and taking a course run by her, that Arbus developed her personal artistic style. In 1963 and 1966 the Guggenheim Foundation awarded her a fellowship for her non–commercial images, and in 1967 the same museum curated her first museum exhibition. In July 1971 Diane Arbus took her own life, aged 48. By the following year MoMA in New York were already putting on a retrospective exhibition of her work. That same year, 1972, Arbus became the first American photographer to represent the USA at the Venice Biennale. Arbus had a close collaboration with Neil Selkirk, who printed her work. He is the only one who is authorized to make posthumous prints of her photographs. All the images that have been developed and sold after Arbus’ death are signed by her daughter Doon Arbus and printed by Selkirk. “A photograph is a secret about a secret. The more it tells you the less you know.” (Diane Arbus) 192. Diane Arbus (USA, 1923–1971), ‘Woman with a Veil on Fifth Avenue, N.Y.C 1968’. Signed by Doon Arbus verso. Printed by Neil Selkirk. Gelatin silver print, image 37 x 37 cm. Sheet 50.5 x 40.5 cm. Import VAT will be charged on the hammer price on this lot. Estimate: SEK 300 000 – 350 000 / EUR 29 390 – 34 280
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191. Antanas Sutkus (Lithuania, 1939–), ‘J.P Sartre in Lithuania, Nida, 1965’. Signed A. Sutkus verso. Gelatin silver print, image 27.5 x 37.5 cm. Literature: Antanas Sutkus, ‘Sartre et Beauvoir Cinq Jours en Lituanie’, 2005, illustrated. Antanas Sutkus, ‘Retrospective’, 2009, illustrated. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
192. Diane Arbus (USA, 1923–1971), ‘Woman with a Veil on Fifth Avenue, N.Y.C 1968’. Signed by Doon Arbus verso. Printed by Neil Selkirk. Gelatin silver print, image 37 x 37 cm. Sheet 50.5 x 40.5 cm. Provenance: Harry Lunn JR, Washington D.C, October 1977. Galleri Camera Obscura, Stockholm. Bukowski Auktioner, Contemporary Art & Design, April 2012. Literature: Doon Arbus and Marvin Israel, ‘Diane Arbus’, 1972, illustrated on fullpage. Doon Arbus e.a, ‘Diane Arbus Revelations’, 2003, illustrated on fullpage p. 10. Import VAT will be charged on the hammer price on this lot.
Estimate: SEK 300 000 – 350 000 / EUR 29 390 – 34 280
193. Christer Strömholm (Sweden, 1918–2002), ‘Montmartre, Paris’, early 1960’s. Signed CHR and with finger print verso. Gelatin silver print, image 44.5 x 34.5 cm. Sheet 50.5 x 40.5 cm. Provenance: Galerie Rudolf Kicken, Cologne, Germany. Acquired in 1993 by the previous owner. Bukowski Auktioner, Contemporary Art & Design 606, April 2018. Private Collection, Stockholm. Literature: Anders Jonason and Christer Strömholm, ‘Christer Strömholm, Konsten att vara där’, 1991, illustrated on p. 142. Lars Hall and Gunilla Knape (ed.), ‘Imprints by Christer Strömholm - CHR. The Hasselblad Award 1997’, 1998, illustrated. Joakim Strömholm (ed.), ‘Post Scriptum – Christer Strömholm’, 2012, illustrated on fullpage p. 47. (d)
Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 960
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194. Gisèle Freund (Germany, 1908–2000), ‘Henry Moore, Much Hadham, Hertfordshire, England, 1959’. Signed Gisèle Freund. Copyright stamp verso. Gelatin silver print, image 20 x 30 cm. Sheet 30.5 x 40.5 cm. Provenance: Directly from the photographer by the present owner. Literature: Christian Caujolle (ed.), ‘Gisèle Freund. Photographien’, 1985, illustrated p. 181. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
195. Gisèle Freund (Germany, 1908–2000), ‘Ile Saint Louis, Paris, 1933’. Signed Gisèle Freund and stamped verso. Gelatin silver print, image 20 x 30 cm. Sheet 30.5 x 40.5 cm. Provenance: Directly from the photographer by the present owner. (d)
Estimate: SEK 6 000 – 8 000 / EUR 590 – 790
196. Wim Wenders (Germany, 1945–), ‘Used Bookstore, Butte, Montana’, 2000. Signed Wim Wenders on label verso. Edition 5/6. C–print, image 93 x 207 cm. Signed certificate issued by James Cohan Gallery, New York, accompanies the work. Provenance: James Cohan Gallery, New York. Private Collection. (d)
Estimate: SEK 200 000 – 250 000 / EUR 19 590 – 24 490
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197. Ulla Lemberg (Sweden, 1946–), ‘Sex Pistols Johnny Rotten & Sid Vicious, Denmark Street, London 1977’. Signed Ulla Lemberg and numbered 1/5. Printed later. Pigment print, image 95 x 143 cm. Provenance: Tres Hombres Art, Halmstad. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
198. Daniel Gordon (USA, 1980–), ‘Red Eyed Woman’, 2010. Signed Daniel Gordon on label verso. Edition 1/3 + 1 AP. C–print, image 94 x 75 cm. Provenance: Wallspace Gallery, New York. Exhibitions: Wallspace Gallery, New York, ‘Still Lifes, Portraits & Parts’, 2010–2011.
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
199. Daniel Gordon (USA, 1980–), ‘Portrait’, 2010. Signed Daniel Gordon on label verso. Edition 1/3 + 1 AP. C–print, image 94 x 75 cm. Provenance: Wallspace Gallery, New York. Exhibitions: Wallspace Gallery, New York, ‘Still Lifes, Portraits & Parts’, 2010–2011.
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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200. Maria Friberg (Sweden, 1966–), ‘Boys are us’, 2004. Signed Maria Friberg and dated 2004 and numbered 3/10 verso. C–print mounted to aluminum 60 x 80 cm. Provenance: Skärets Konsthall, Arild, Sweden. Exhibitions: Skärets konsthall, Arild, ‘Boys are us 2’, 2005. Literature: Maria Friberg, ‘Maria Friberg’, 2005, illustrated on fullpage. (d) Import VAT will be charged on the hammer price on this lot.
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
201. Cecilia Ömalm (Sweden, 1974–), ‘The Well’, 2007. Signed Cecilia Ömalm and numbered AP (ed 5) on label verso. Pigment print, image 142 x 107 cm. Including frame 168 x 131 cm. Provenance: Natalia Goldin, Stockholm. (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 940 – 3 430
202. Maria Friberg (Sweden, 1966–), ‘Black Balance’, 2016. Signed Maria Friberg and numbered 4/5 verso. C–print, silicone, glass 120 x 100 cm. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
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203. Terry O’Neill (Great Britain, 1938–2019), ‘Al Pacino, London, 1995’. Signed Terry O’Neill and numbered 2/50. Gelatin silver print, image 38 x 38 cm. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on fullpage p. 234. Provenance: Tres Hombres Art, Halmstad. Private Collection, Sweden. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
204. Terry O’Neill (Great Britain, 1938–2019), ‘Brigitte Bardot, Deauville, 1968’. Signed Terry O’Neill and numbered 6/50. Gelatin silver print, image 45 x 30.5 cm. Provenance: Tres Hombres Art, Halmstad. Private Collection, Sweden. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on fullpage p. 26. (d)
Estimate: SEK 35 000 – 40 000 / EUR 3 430 – 3 920
205. Terry O’Neill (Great Britain, 1938–2019), ‘Orson Welles Filming ‘Casino Royale’ 1967’. Signed Terry O’Neill and numbered 11/50. Gelatin silver print, image 36.5 x 56 cm. Provenance: Tres Hombres Art, Halmstad. Private Collection, Sweden. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on fullpage p. 338–339. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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206. Terry O’Neill (Great Britain, 1938–2019), ‘Naomi Campell, London, 1993’. Signed Terry O’Neill and numbered 2/50. Gelatin silver print, image 36 x 35 cm. Provenance: Tres Hombres Art, Halmstad. Private Collection, Sweden. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, compare image on fullpage p. 26. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
207. Terry O’Neill (Great Britain, 1938–2019), ‘Queen Elizabeth II, Buckingham Palace, 1990’. Signed Terry O’Neill and numbered 3/50. Gelatin silver print, image 46 x 45 cm. Provenance: Tres Hombres Art, Halmstad. Private Collection, Sweden. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated in colour on fullpage p. 247. (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 940 – 3 430
208. Terry O’Neill (Great Britain, 1938–2019), ‘Faye Dunaway, Hollywood, 1977’. Signed Terry O’Neill and numbered AP. Total edition of 50 + 10 AP. C–print mounted to aluminum and framed, image 91 x 91 cm. Including frame 106 x 104 cm. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on p. 104 and fullpage p. 105. (d)
Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
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209. Dawid (Björn Dawidsson) (Sweden, 1949–), ‘Dots’ from the series ‘Bow’, 1985. Signed Dawid and dated 1985 and numbered AP on label verso. Vintage. Pigment print, 89 x 75 cm including the artist’s frame. (d)
Estimate: SEK 10 000 – 12 000 / EUR 980 – 1 180
210. Per–Anders Pettersson (1967–), ‘Akello II, ur African Catwalk’, 2015. Signed PAP and dated 2019 and numbered 1/5 on label verso. C–print, image 60 x 40 cm. Provenance: Galleri Kontrast, Stockholm. Tom Böttiger Collection, Stockholm. (d)
Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 960
211. Dawid (Björn Dawidsson) (Sweden, 1949–), ‘#6921 ur serien Bow’, 2002. Signed Dawid and numbered 2/2 on label verso. Printed in 2002. Vintage. Pigment print 97.5 x 82 cm including the artist’s frame. (d)
Estimate: SEK 10 000 – 12 000 / EUR 980 – 1 180
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212. Hans Gedda (Sweden, 1942–), ‘Den vite Clownen’, 1978. Signed Hans Gedda. Edition 10. Gelatin silver print image 71 x 72 cm. Provenance: Directly from the photographer to the present owner. Literature: Hans Gedda and Bodil Malmsten, ‘Cirkus Circus Cirque’, 1995, compare image p. 24. Magnus Olausson e.a, ‘Hans Gedda; Det tredje ögat’, 2013, illustrated on spread p. 132–133. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
213. Luis Gispert (USA, 1972–), ‘B–29’, 2009. Signed L Gispert and dated 09 and numbered AP 3 verso. Total edition 6 + 3 AP. C–print mounted to dibond and acrylic glass 121.5 x 193.5 cm. Provenance: Rhona Hoffman Gallery, Chicago. Private Collection, Sweden.
Estimate: SEK 100 000 – 150 000 / EUR 9 800 – 14 700
214. Martin Bogren (Sweden, 1967–), ‘Sleepers’, 2012. Series of 10 photographs. Signed Martin Bogren verso. Edition AP 1. Total edition of 15 + 2 AP. Signed certificate accompanies the work. Gelatin silver print, image 27.5 x 20 cm per part. Including frame 43 x 35 cm per part. Provenance: Acquired directly from the photographer by the present owner. Tom Böttiger Collection, Stockholm. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
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215. Dawid (Björn Dawidsson) (Sweden, 1949–), ‘K1D7392’, 2013. From the series ‘MK/AW’. Signed Dawid and dated 2013 and numbered 1/5 verso. Pigment print, 111 x 156 cm including the artist’s frame. Provenance: Swedish Photography, 2013. Literature: Dawid and Steven Henry Madoff, ‘Dawid – This is a photograph’, 2015, compare image on p. 389. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
216. Eija–Liisa Ahtila (Finland, 1959–), ‘Casting Portraits VI’, 1997. Signed on included certificate issued by Klemens Gasser & Tanja Grunert Inc. Edition 4/10 + 2 AP. Polyptych. Gelatin silver print, image 26 x 20 cm per part. Including frame 47.5 x 113 cm. Provenance: Galeria Pepe Cobo, Sevilla. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
217. Eija–Liisa Ahtila (Finland, 1959–), ‘Casting Portraits I’, 1995–97. Signed on included certificate issued by Klemens Gasser & Tanja Grunert Inc. Edition 3/10 + 2 AP. Diptyche. Gelatin silver print, image 26 x 20 cm per part. Including frame 47 x 65.5 cm. Provenance: Galeria Pepe Cobo, Sevilla. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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218. Dan Wolgers (Sweden, 1955–), ‘What’s wrong?’, 1993. Signed Dan Wolgers and dated 1993 on verso. Edition 3/3. C–print 134 x 127 cm including frame. Provenance: Galleri Magnus Karlsson, Stockholm. Tom Böttiger Collection, Stockholm. Exhibitions: Another example exhibited at Galleri Riis, Oslo, 1993. Literature: Dan Wolgers och Liljevalchs Konsthall, ‘Dan Wolgers, Verksamhet 1977–2001’, 2001, illustrated. (d)
Estimate: SEK 50 000 – 60 000 / EUR 4 900 – 5 880
219. Martin Bogren (Sweden, 1967–), ‘Untitled, 2008’. From the series ‘Ocean’. Signed Martin Bogren and numbered 4/5 verso. Archival pigment print, image 99 x 77 cm. Provenance: Tom Böttiger Collection, Stockholm. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
220. Torbjörn Calvero (Sweden, 1949–2016), ‘Iggy Pop’, 1977. Signed Calvero and numbered 1/7. Printed later. Pigment print, image 85 x 62 cm. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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221. Liu Bolin (China, 1973–), ‘Hiding in the City No.90 – National Day’, 2010. Signed on certificate issued by Liu Bolin Art Studio. Edition 6/8. C–print, image 118 x 150 cm. Estimate: SEK 50 000 – 70 000 / EUR 4 900 – 6 860
222. Leif–Erik Nygårds (Sweden, 1939–), ‘Marilyn Monroe, Bel Air Hotel, June 27th 1962’. Signed Leif Erik Nygårds and numbered 11/32 on verso. Ink jet print, image 47 x 72 cm. (d) Import VAT will be charged on the hammer price on this lot.
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
223. Arvida Byström (Sweden, 1991–), Untitled. Signed Arvida Byström and numbered 1/6 on label verso. Digital print 69.5 x 49.5 cm. Provenance: Bon Gallery, Stockholm. Exhibitions: Bon Gallery, Stockholm, ‘Wifi or wife’, 2014. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
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224. Mike & Doug Starn (Starn Twins) (USA, 1961–), ‘ATL Film Still #8’, 2000–2005. Signed Mike Starn and Doug Starn and numbered 5/5 verso. Lambda digital C–print mounted to aluminum 74.5 x 102 cm. Provenance: Wetterling Gallery, Stockholm. Literature: Doug & Mike Starn, ‘Gravity of Light’, 2012, illustrated p. 98–99.
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
225. Dominique Tarlé (France, 1948–), ‘Mick Jagger, South of France, 1971’. Signed Dominique Tarlé and numbered 3/50. Digital archive print, image 36.5 x 55 cm. Provenance: Pelle Unger Gallery, Stockholm. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
226. Ulf Rollof (Sweden, 1961–), ‘Sövd nr 1’, 2005. Signed Rollof and dated 05 and numbered 1/3 on verso. Total edition of 3 + 1 AP. C–print, floatglass, silicone and mdf 132 x 99 cm. Provenance: Brändström & Stene, Stockholm. Tom Böttiger Collection, Stockholm. Literature: Ulf Rollof, ‘Sövd Ulf Rollof 2004–06’, 2006, illustrated on fullpage. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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227. Gisèle Freund (Germany, 1908–2000), ‘Man Ray, 1967’. Signed Gisèle Freund. Copyright stamp verso. C–print, image 30 x 20 cm. Sheet 37.5 x 25.3 cm. Provenance: Directly from the photographer by the present owner. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
228. Gisèle Freund (Germany, 1908–2000), ‘Jean Cocteau, Paris, 1939’. Signed Gisèle Freund and stamped verso. C–print, image 40 x 26.5 cm. Sheet 42.5 x 30 cm. Provenance: Directly from the photographer by the present owner. Literature: Musee National d’art moderne Centre Pompidou, ‘Gisele Freund Itinéraires’, 1991, illustrated on p. 141. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
229. Gisèle Freund (Germany, 1908–2000), ‘Virginia Woolf, 1939’. Signed Gisèle Freund. Copyright stamp verso. C–print, image 30 x 20 cm. Sheet 40 x 29.3 cm. Provenance: Directly from the photographer by the present owner. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
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230. Gisèle Freund (Germany, 1908–2000), ‘James Joyce, Paris, 1939’. Signed Gisèle Freund and stamped verso. C–print, image 30 x 20 cm. Sheet 39.6 x 30 cm. Provenance: Directly from the photographer by the present owner. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
230A. Bill Brandt, “Nude, East Sussex Coast”, 1977. Signed Bill Brandt. Gelatin silver print, image 33.5 x 29 cm. Sheet 40 x 30 cm. Provenance: Directly from the photographer to the present owner. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
230B. Håkan Ludwigson, “Club 55”, 2000. Signed Håkan Ludwigson and dated 2010 and numbered 2/19. Pigment print, image 62 x 78 cm. Including frame 89 x 109 cm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
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231. Jan Håfström (Sweden, 1937–), Untitled. Signed Jan Håfström and dated 2009. Acrylic on paper 78 x 69 cm. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
232. Anders Widoff (Sweden, 1953–), ‘Milano’. Signed Widoff and dated 2004 verso. Canvas 40 x 30 cm. (d)
Estimate: SEK 35 000 – 40 000 / EUR 3 430 – 3 920
233. Dan Wolgers (Sweden, 1955–), ‘Ljusets hastighet’. Signed DW and numbered 38/100. Total edition 100 + 10 AP. Bronze. Height 12.5 cm, length 22 cm. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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234. Lisa D Manner (Sweden, 1979–), ‘Floodgate’. Signed Lisa D Manner and dated 2016 verso. Panel 40 x 30 cm. Provenance: Galleri Flach, Stockholm. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
235. Carl Hammoud (Sweden, 1976–), Untitled. Watercolour on paper 20.5 x 25.5 cm. Provenance: Galleri Magnus Karlsson, Stockholm. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
236. Martin Wickström (Sweden, 1957–), ‘B–Street’. Signed Martin Wickström and dated 2013 verso. Oil on panel 50 x 50 cm. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
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237. Håkan Rehnberg (Sweden, 1953–), Untitled. Signed Håkan Rehnberg and dated 2007 verso. Oil on acrylic glass 30 x 36 cm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
238. Carl Fredrik Reuterswärd (Sweden, 1934–2016), ‘Non Violence’. Bronze with brown patina. Signed CFR and numbered 25/50. Measurements including base length 48, height 34 cm. Original wooden crate included in lot, 63 x 27 x 43 cm. Certificate and information sheet issued by The Non–Violence Project Foundation. (d)
Estimate: SEK 120 000 – 150 000 / EUR 11 760 – 14 700
239. Pauliina Pietilä (Finland, 1982–), ‘The Birds’. Signed Pauliina Pietilä and dated 2014 verso. Canvas 160 x 120 cm. Provenance: Galleri Flach, Stockholm. Exhibitions: Galleri Flach, Stockholm, ‘Pauliina Pietilä’, 2014. (d)
Estimate: SEK 50 000 – 70 000 / EUR 4 900 – 6 860
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240. Karl Norin (Sweden, 1982–), ‘Atomic Shiva’. Executed in 2014. Faux fur, epoxy on foamcore, aluminum, wooden frame 160 x 160 cm Provenance: Carl Kostyál, Stockholm. Private Collection, Stockholm. (d)
Estimate: SEK 50 000 – 60 000 / EUR 4 900 – 5 880
241. Peter Frie (Sweden, 1947–), Untitled. Signed P Frie verso. Oil on canvas 40 x 100 cm. Provenance: Lars Bohman Gallery, Stockholm. (d)
Estimate: SEK 70 000 – 90 000 / EUR 6 860 – 8 820
242. Linn Fernström (Sweden, 1974–), ‘Ballerina på livssnöre’. Signed Linn Fernström and dated 2007 verso. Canvas 50 x 70 cm. Provenance: Lars Bohman Gallery, Stockholm. Literature: Lars Bohman Gallery, ‘Linn Fernström, Målningar 2006–2008’, illustrated fullpage p. 43. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
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243. Annika von Hausswolff (Sweden, 1967–), ‘Digging for History Red’. Signed AvH and dated 2015 verso. Vitreous enamel 30 x 40 cm. Provenance: Andréhn–Schiptjenko, Stockholm. (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 940 – 3 430
244. Jacob Dahlgren (Sweden, 1970–), ‘Peinture Abstraite (small) numero vingt–huit’. Signed and dated 2002 verso. Acrylic on MDF 35 x 27 cm. Provenance: Galleri Charlotte Lund, Stockholm. (d)
Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 960
245. Fredrik Wretman (Sweden, 1953–), ‘Goatrans’. Signed FW and numbered XI. Polyurethane. Height 28 cm. (d)
Estimate: SEK 10 000 – 12 000 / EUR 980 – 1 180
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246. Ulf Johnny Höglund (Sweden, 1988–), Untitled. Signed Johnny Höglund and dated 2/11–2014 verso. Canvas 122 x 92 cm. Provenance: Stene Projects, Stockholm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
247. Ulf Rollof (Sweden, 1961–), ‘RGB’. Signed Rollof and dated 2011. Acrylic, float glas and metal mounts. Rounds of 9 mm revolver shots. 98 x 68.5 cm. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
248. Emanuel Röhss (Sweden, 1985–), Untitled. Signed Emanuel Röhss and dated 2016 verso. Canvas 163.5 x 85.5 cm. Provenance: Johan Berggren Gallery, Malmö. Private Collection, Stockholm. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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249. Cecilia Edefalk (Sweden, 1954–), Untitled. Signed C.E. and C. Edefalk and dated 1989 verso. Canvas 51 x 35.5 cm. (d)
Estimate: SEK 125 000 – 150 000 / EUR 12 250 – 14 700
250. Ola Billgren (Sweden, 1940 – 2001), ‘Study for Sotto voce’. Signed Ola Billgren and dated 1984 verso. Oil on canvas 134 x 135 cm. Provenance: Galleri Göran Engström, Stockholm. Literature: Douglas Feuk and Anne Ring Petersen, ‘Ola Billgren Måleri’, Bra Böcker, 2000, illustrated fullpage in colour p. 303. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
251. Peter Frie (Sweden, 1947–), Untitled. Signed Peter Frie and dated –91 verso. Panel in artist’s frame 33.8 x 40.8 cm. Provenance: Lars Bohman Gallery, Stockholm. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
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252. Rolf Hanson (Sweden, 1953–), ‘Bluet’. Signed Rolf Hanson and dated 1983 verso. Oil on panel 122 x 125 cm. Exhibitions: American Scandinavian Foundation, New York City, 1983. Lunds Konsthall, ‘6 utställningar’, 1983. Galleri Målarförbundet, Helsinki, 1984. Eskilstuna Konstmuseum, 1985. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
253. Lena Cronqvist (Sweden, 1938–), ‘Flicka med röd nalle’. Signed LC and numbered AP in the girl’s back. Underneath signed L and numbered 4/4. Bronze, height 15 cm. Executed in 2001. Provenance: Galleri Lars Bohman, Stockholm. (A copy of the original invoice included in lot). (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
254. Meta Isæus–Berlin (Sweden, 1963–), ‘Carmen har tråkigt’. Signed M–I–B and dated 2007 verso. Oil on canvas 75 x 111 cm. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
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JAN HÅFSTRÖM – TICKET FROM CAESAR The painting in the auction, Ticket from Caesar, is as close to a self–portrait of the artist Jan Håfström as we can get. Magnus Bons writes about the painting in The Book of the Dead: ’… Perhaps his role is most apparent in his paintings of hands. Here, Håfström is both the narrator and the viewer, as well as a kind of main character. He makes a painting of his own hand holding another picture. He is looking at it and lets us look at his geture. One cannot help but see the hands as representing the artist. That is why the paintings are as close as we get to a self-portrait by Jan Håfström. Through a kind of vicarious meta-images he creates a space in which he can display himself without having to reveal his identity.’ The hand as a subject is also a feature in many of the paintings in Håfström’s popular Walker series. In Ticket from Caesar an important message is
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shown on a torn piece of paper and we can distinguish the words ‘INRI: Jesus the Nazarene, King of the Jews’. We are reminded of the temporal quality of life and that we are not immortal. Jan Håfström is an important player on the Swedish cultural and literary scene. Despite being 84 years old he remains active and always relevant. Only recently he showed new work at the Galleri Andersson/Sandström in connection with the Market Art Fair in September 2021.
259. Jan Håfström (Sweden, 1937–), ‘Ticket from Caesar’. Signed Jan Håfström and dated 2004. Acrylic on panel 100 x 100 cm. (d) Estimate: SEK 225 000 – 250 000 / EUR 22 040 – 24 490
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JAN HÅFSTRÖM – BRÖDERNA [THE BROTHERS] In the piece Bröderna one has to assume that it is Daniel Defoe’s Robinson Crusoe and Friday who are about to set off in the canoe and leave the deserted island behind. It has been said that the Robinson character is in fact the artist, and the facial features give some credibility to this claim. Håfström considers himself an outsider and in the painting in the auction, Bröderna, he emphasises this by appearing through a telescopic sight as Robinson. There is a connection here, in the circular detail of the sight, to one of his earlier paintings, Den hemlighetsfulla ön from 1965. Both paintings depict male worlds and men being alone on islands. This is no coincidence as Håfström’s practice often references his own earlier work. Martin Sundberg describes Bröderna, the painting in the auction, in his major text on the artist, Tillvaratagna Effekter, as follows: ‘Attention is directed towards him (Håfström) and his project. At the same time he finds himself in a world (light), divorced from the surroundings (dark). Those on the outside stand there baffled, but the artist won’t be influenced in his project to create and pull the whole thing off. The melan-
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cholic artist observes, but is not completely powerless to act. He is defined by a basic need to communicate.’ Sundberg continues: ‘That his artistic practice (Håfström’s) also includes the joy of creativity, so striking in his desire to paint, is visible in Bröderna. The men have carved a canoe and are now physically working on launching it to sea. What’s more, the vessel becomes a metaphor not only for his practice, but also for the attempt, by creating, to survive. Additionally, the canoe implies an imminent journey, a recurring metaphor for creativity not only in Håfström’s work…’
260. Jan Håfström (Sweden, 1937–), ‘The Brothers’. Signed Jan Håfström and dated 2002. Acrylic on panel 120 x 120 cm. (d) Estimate: SEK 250 000 – 275 000 / EUR 24 490 – 26 940
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255. Martin Wickström (Sweden, 1957–), ‘La Guardia C.G.’. Signed Martin Wickström and dated 2017 verso. Canvas 120 x 120 cm. Provenance: Galleri Aveny, Gothenburg. Private Collection, Gothenburg. (d)
Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
256. Juri Markkula (Sweden, 1970–), ‘Gold to Lilac to Green’. Signed Juri Markkula and dated 2014 verso. Interference pigment, polyurethane filler, and epoxy on panel 53 x 53 cm. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
257. Carl Hammoud (Sweden, 1976–), ‘Untitled (Resonance)’. Signed Carl Hammoud and dated 2016 verso. Oil on linen 80 x 70 cm. Provenance: Galleri Magnus Karlsson, Stockholm. Acquired by the present owner in 2016. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
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258. Hanna Lidén (Sweden, 1976–), ‘Don’t take life so seriously, it isn’t permanent’. Executed in 2011. T–shirt, latex, wire height 58 cm, width 70 cm, depth 45 cm. Provenance: Carl Kostyál, Stockholm. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
259. Jan Håfström (Sweden, 1937–), ‘Ticket from Caesar’. Signed Jan Håfström and dated 2004. Acrylic on panel 100 x 100 cm. Provenance: Galleri Brändström & Stene, Stockholm. Acquired in 2007. Dan–Ola and Ann Christine Larsson Collection. Exhibitions: Carnegie Art Award, Konstakademien, Stockholm, 2 December 2005–29 January 2006. Literature: Mårten Castenfors (ed), ‘The Book of the Dead’, Liljevalchs, 2009, illustrated fullpage p. 223. Thomas Millroth och Filippa Arrias, ‘KONSTEN – en del av livet, Dan–Ola och Ann Christine Larsson’, illustrated fullpage p. 65. (d)
Estimate: SEK 225 000 – 250 000 / EUR 22 040 – 24 490
260. Jan Håfström (Sweden, 1937–), ‘The Brothers’. Signed Jan Håfström and dated 2002. Acrylic on panel 120 x 120 cm. Provenance: Galleri Brändström & Stene, Stockholm. Dan–Ola and Ann Christine Larsson Collection. Literature: Dunkers Kulturhus, ed E. Lidman och M. Jensner, “Nattens Industri, Jan Håfström”, 2002, illustrated fullpage p. 13. Martin Sundberg (ed.), ‘Tillvaratagna effekter (Reclaimed properties)’, 2005, illustrated on the cover, also illustrated p. 307, and details illustrated on p. 306, 308, 315. Thomas Millroth och Filippa Arrias, ‘KONSTEN – en del av livet, Dan-Ola och Ann Christine Larsson’, 2016, illustrated fullpage p. 63. (d)
Estimate: SEK 250 000 – 275 000 / EUR 24 490 – 26 940
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261. Jim Thorell (Sweden, 1981–), Untitled. Signed Jim Thorell and dated 15 verso. Canvas 200 x 140 cm. Provenance: Loyal Gallery, Stockholm. (d)
Estimate: SEK 40 000 – 60 000 / EUR 3 920 – 5 880
262. Clay Ketter (Sweden, 1961–), ‘Trace Painting #4’. Signed Clay Ketter and dated –97 verso. Mixed media on gypsum wallboard, 180 x 180 cm. Provenance: Galleri Andreas Brändström, Stockholm. (d)
Estimate: SEK 40 000 – 60 000 / EUR 3 920 – 5 880
263. Ylva Ceder (Sweden, 1976–), ‘Kl 23.50’. Signed Ylva Ceder and dated 2008 verso. Oil on plywood 122 x 73 cm. Exhibitions: Kristinehamns konstmuseum, ‘Efter middag’, 16 February – 14 April 2013. (d)
Estimate: SEK 40 000 – 60 000 / EUR 3 920 – 5 880
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264. Gardar Eide Einarsson (Norway, 1976–), ‘The Gauntlet Flung Down’. Signed and dated 2004 verso. Pencil on paper 33.5 x 28 cm. Provenance: Nils Staerk Contemporary Art, Copenhagen. (d)
Estimate: SEK 10 000 – 12 000 / EUR 980 – 1 180
265. Anders Krisár (Sweden, 1973–), ‘Arm (right)’. Signed Krisár and numbered 2/3. Executed in 2006. Acrylic paint, polyester resin, polyurethane and oil paint 35.5 x 7 x 5.5 cm. Total edition 3 + 1 AP. Provenance: Acquired from the artist. Literature: Anders Krisar, ‘Anders Krisár’, 2011, illustrated fullpage p. 155. (d)
Estimate: SEK 50 000 – 60 000 / EUR 4 900 – 5 880
266. Richard G. Carlsson (Sweden, 1964–), ‘de Kooning 2’. Signed RGC and dated 2011. Ink on paper 23 x 31 cm. Provenance: Cecilia Hillström Gallery, Stockholm. Tom Böttiger Collection, Stockholm. Exhibitions: Cecilia Hillström Gallery, Stockholm, ‘Richard G. Carlsson, Workspaces – Dialogues’, 10 January – 8 February 2013. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
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267. Andreas Eriksson (Sweden, 1975–), ‘Scud’. Signed Andreas Eriksson and dated 2018 verso. Oil, acrylic and egg–oil tempera 200 x 140 cm. A signed certificate of authenticity issued by Stephen Friedman Gallery accompanies the lot. Provenance: Private Collection, Gothenburg. (d)
Estimate: SEK 200 000 – 250 000 / EUR 19 590 – 24 490
268. Fredrik Wretman (Sweden, 1953–), ‘Body & Soul’. Signed and dated 2008. Edition 7 + 3 AP. Bronze, height 14 cm. Provenance: Galleri Flach, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
269. Peter Frie (Sweden, 1947–), ‘Some trees on June 14’. Signed P Frie and dated S.T.6.14 verso. Oil on canvas in artist’s frame 152 x 117 cm. Provenance: Lars Bohman Gallery, Stockholm. Exhibitions: Lars Bohman Gallery, Stockholm, ‘Peter Frie, Some Trees’, 18 January – 23 February 2014. (d)
Estimate: SEK 125 000 – 150 000 / EUR 12 250 – 14 700
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270. Paul Fägerskiöld (Sweden, 1982–), ‘Liberated Colour’. Signed Paul Fägerskiöld and dated 2011 verso. Oil on canvas 47 x 56 cm. Provenance: Galerie Nordenhake, Stockholm. (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 940 – 3 430
271. Julius Göthlin (Sweden, 1984–), Untitled. Signed JG. and dated 2016 verso. Mixed media on paper 127 x 90 cm. Provenance: Belenius, Stockholm. Private Collection, Stockholm. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
272. Marie–Louise Ekman (Sweden, 1944–), Untitled. Probably executed in 1997. Assemblage in acrylic box. Height 25.5 cm, width 25.5 cm, depth 25.5 cm. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
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273. Ernst Billgren (Sweden, 1957–), ‘Möte med natur’. Signed with monogram. Executed in 2008. Mixed media on panel 138 x 122 cm including original frame. Provenance: Bukowski Auktioner, Contemporary & Design 558, 17 November 2010. Exhibitions: Galleri Bolin, Östersund, ‘Fem i Färg’, 23 December 2009–3 January 2010. (d)
Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
274. Martin Wickström (Sweden, 1957–), ‘Fuji revisted II’. Signed Martin Wickström and dated 2015 on verso. Oil on canvas 60 x 60 cm. Provenance: Lars Bohman Gallery, Stockholm. Exhibitions: Lars Bohman Gallery, Stockholm, ‘Martin Wickström, Europa’, August 27–September 27, 2015. Literature: ‘10_20 Martin Wickström’, edited by Greger Ulf Nilson, Stockholm, 2021, illustrated p. 287 and listed under ‘Europa’ – in the list of works p. 291. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
275. Maria Miesenberger (Sweden, 1965–), ‘Conversation’. Signed and dated. Marble, height 40 cm, width 35 cm, depth 25 cm. Unique. Base included in lot, 45 x 30 x 7 cm. Provenance: Lars Bohman Gallery, Stockholm. (d)
Estimate: SEK 175 000 – 200 000 / EUR 17 140 – 19 590
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276. Rolf Hanson (Sweden, 1953–), ‘Wawono’. Signed Rolf Hanson and dated –85 on verso. Panel 152.5 x 122 cm. (d)
Estimate: SEK 100 000 – 120 000 / EUR 9 800 – 11 760
277. Ylva Snöfrid (Ogland) (Sweden, 1974–), ‘Xenia with candle, cut poppy capsule, poppy flower syringue and wisdom teeth’. Signed Ylva Ogland verso. Also signed Ylva Ogland and dated 2012–13 on the overlap. Canvas 38 x 47 cm. Provenance: Fruit and Flower Deli, Stockholm. Exhibitions: Bonniers Konsthall, ‘Hon i fyra akter ‘, April 22–July 26, 2015. Literature: Bonniers Konsthall och Silvana Editoriale, ed. Sara Arrhenius and others, ‘Ylva Ogland, She, an introduction’, Stockholm, 2015, illustrated fullpage p. 41. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
278. Max Mikael Book (Sweden, 1953–), ‘Var en vinge’. Signed Max Book and dated 2007 verso. Canvas 116 x 160 cm. Provenance: Stockholms Auktionsverk, ‘Design – Nutida Konst’, 11 May 2015, lot 1121. Private Collection, Stockholm. (d)
Estimate: SEK 60 000 – 70 000 / EUR 5 880 – 6 860
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279. Gittan Jönsson (Sweden, 1948–), Untitled. Signed Gittan Jönsson and dated 1975. Canvas 75 x 63 cm. Provenance: Astra Art Lottery. Private Collection, Sweden. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
280. Petra Lindholm (Finland, 1973–), ‘(Book of Changes) Fog’. Signed Petra Lindholm and dated 2019 verso. Fabric, glue, and pastel on panel 120 × 80 cm. Provenance: Galleri Magnus Karlsson, Stockholm. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
281. Fredrik Hofwander (Sweden, 1973–), Untitled. Signed Fredrik Hofwander and dated 2009 verso. Pencil on paper 94 x 123 cm. Provenance: Brändström & Stene, Stockholm. (d)
Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 960
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282. Ola Billgren (Sweden, 1940–2001), ‘Nature morte II’. Signed Ola Billgren and dated –93 verso. Canvas 58 x 75 cm. Provenance: Bukowskis Auktioner, ‘Spring Contemporary 567’, 2012, lot no. 446. (d) Import VAT will be charged on the hammer price on this lot.
Estimate: SEK 250 000 – 300 000 / EUR 24 490 – 29 390
283. Peter Frie (Sweden, 1947–), ‘Eliopainting #6’. Signed P Frie. Executed in 2009. Oil and wax on paper 10.5 x 14.5 cm. Provenance: Galerie Forsblom, Helsinki. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
284. Per Olof Ultvedt (Sweden, 1927–2006), Untitled. Signed PO Ultvedt. Kinetic sculpture, wood, cord, and electrical cord and motor 78.5 x 16 x 42.5 cm. (d)
Estimate: SEK 20 000 – 30 000 / EUR 1 960 – 2 940
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285. Martin Wickström (Sweden, 1957–), ‘Edelweiss’. Signed Martin Wickström and dated 1989 verso. Oil on MDF, wood, plastic, photography, and lamp 53 x 125 x 12 cm. Provenance: Tom Böttiger Collection, Stockholm. Exhibitions: Virserum Konsthall, ‘Leka med Döden’, 2 October 2011–15 April 2012. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
286. Roj Friberg (Sweden, 1934–2016), ‘Monument’. Signed Rf and dated 010. Mixed media on aluminum 60 x 81.5 cm. Provenance: Kunstverket Hovedöya Galleri, Oslo. Acquired in 2011 by the present owner. Exhibitions: Kunstverket Hovedöya Galleri, Oslo, ‘Roj Friberg Retrospektiv’, 7 May – 26 June 2011. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
287. Roj Friberg (Sweden, 1934–2016), ‘Monument’. Signed Rf. and dated 010. Mixed media on aluminum 60 x 81.5 cm. Provenance: Kunstverket Hovedöya Galleri, Oslo. Acquired in 2011 by the present owner. Exhibitions: Kunstverket Hovedöya Galleri, Oslo, ‘Roj Friberg Retrospektiv’, 7 May – 26 June 2011. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
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288. Jesper Nyrén (Sweden, 1979–), ‘Åkrar och himmel’. Signed and dated 2007 verso. Oil on canvas 262 x 210 cm. Provenance: Björn Springfeldt Family Collection, Stockholm. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
289. Maria Miesenberger (Sweden, 1965–), ‘Reflection on the Presence of Time #3’. Signed Maria Miesenberger and dated 2013. Highpolished stainless steel, painted steel, waxed Valchromat, height 158.5 cm.
290. Alfred Boman (Sweden, 1981–), Untitled.
Provenance: Lars Bohman Gallery, Stockholm. Acquired from the above by the present owner in 2013. Exhibitions: Lars Bohman Gallery, Stockholm, ‘Maria Miesenberger, Reflektion/noitcelfeR’, 12 January – 10 February 2013. Literature: Lars Bohman Gallery, Stockholm, ‘Maria Miesenberger, Reflektion/noitcelfeR’, 2013, illustrated p. 17–18. (d)
Signed Alfred Boman and dated 2013 verso. Mixed media on canvas in artist’s frame 213 x 161 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
Estimate: SEK 50 000 – 60 000 / EUR 4 900 – 5 880
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Provenance: Carl Kostyál, Stockholm. Private Collection, Stockholm. Exhibitions: Carl Kostyál, Stockholm, ‘The Medium of Intensity’, 12 December 2013 – 19 January 2014. (d)
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291. Andreas Eriksson (Sweden, 1975–), ‘Resonant 9’. Signed Andreas Eriksson and dated 2013 verso. Oil on canvas 75 x 65 cm. Provenance: Galerie Susanne Ottesen, Copenhagen. Exhibitions: Galerie Susanne Ottesen, Copenhagen, ‘Andreas Eriksson, Resonant’, 17 January – 22 February 2014. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
292. Torsten Andersson (Sweden, 1926–2009), ‘Björken’. Executed in 1966. Canvas 42.5 x 42.5 cm. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
293. Jan Håfström (Sweden, 1937–), ‘Labyrint’. Signed Jan Håfström and dated 1981 verso. Panel 100 x 100 cm. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
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294. Rolf Hanson (Sweden, 1953–), ‘Utan titel’. Signed Rolf Hanson. Mixed media on paper 105 x 75 cm. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
295. Peter Frie (Sweden, 1947–), Utan titel. Signed P Frie verso. Oil on panel in artist’s frame 140 x 100 cm. Provenance: Lars Bohman Gallery, Stockholm. (d)
Estimate: SEK 120 000 – 140 000 / EUR 11 760 – 13 720
296. Truls Melin (Sweden, 1958–), ‘Skepp’. Signed Truls Melin and dated 2007. Edition 5. Painted wood and fiberglass. Height 76.5, length 79, width 53 cm. Provenance: Galleri Magnus Åklundh, Malmö. Fredrik Roos Collection, Malmö. (d)
Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 960
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297. Alexander Klingspor (Sweden, 1977–), ‘Flamenco Night’. Signed A. Klingspor. Executed in 2009. Oil on canvas 78 x 122 cm. Including frame 97.5 x 142 cm. Provenance: Arcadia Fine Arts, New York. (d)
Estimate: SEK 100 000 – 120 000 / EUR 9 800 – 11 760
298. Lars Lerin (Sweden, 1954–), ‘Båtar i hamn, Lofoten’. Signed Lars Lerin and dated 82. Watercolour on paper 56 x 78 cm. (d)
Estimate: SEK 225 000 – 250 000 / EUR 22 040 – 24 490
299. Ola Billgren (Sweden, 1940–2001), ‘Röd Terräng’. Signed Ola Billgren and dated –83 verso. Canvas 42 x 66 cm. Provenance: Apoteksbolagets Konstförening, lottery 1991. Private Collection. (d)
Estimate: SEK 100 000 – 150 000 / EUR 9 800 – 14 700
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300. Peter Frie (Sweden, 1947–), ‘Eliopainting no Z1’. Signed P Frie. Executed in 2011. Oil on paper 14 x 10 cm. Provenance: Lars Bohman Gallery, Stockholm. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
301. Linn Fernström (Sweden, 1974–), ‘Camouflaged Heart–Eater’. Signed and dated Linn Fernström 2014 verso. Oil on canvas 211 x 300 cm. Provenance: Lars Bohman Gallery, Stockholm. Exhibitions: Lars Bohman Gallery, Stockholm, ‘Linn Fernström, Talk bubble on a straw’, 21 August – 21 September 2014. Literature: Lars Bohman Gallery, ‘Linn Fernström, Målningar och skulpturer’, 2014, illustrated fullpage p. 26. (d)
Estimate: SEK 300 000 – 400 000 / EUR 29 390 – 39 180
302. Carl Hammoud (Sweden, 1976–), ‘Experiment’. Executed 2008. Graphite on paper, 7 parts framed together 28 x 28 cm. Provenance: Galleri Magnus Karlsson, Stockholm. (d)
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
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KARIN BROOS Wonderful women by the water – like the title of Monika Fagerholm’s prize–winning novel – is how in a single sentence one could concisely describe Karin Broos’ painterly depictions. The painting Den Gula Strömmen forms, along with works such as Spegling, Mörk Spegling as well as Rosa Spegling, Väktare and Flytande, the backbone of Karin Broos’ artistic practice. These works all have the motif of a young woman lying down, sitting, floating or standing in glimmering lake water. It is precisely water, and its mirror–like surface, that is so central to Broos’ practice: water as that seductive essential element, yet also as a powerful current of depth and darkness. In Den Gula Strömmen a moment is evoked where human and the elemental have united, a weightless existence without beginning or end. There is nothing in the painting that restricts this vision, no horizon or shoreline in sight. It is easy to make the connection to motherhood, the small child inside the womb, while at the same time Broos depicts a moment of pure joie de vivre. A few seconds of total relaxation before the children on the beach once again demand one’s attention. The models in the paintings are usually taken from her close family: her daughters and grandchildren. The seemingly everyday situations are often ambiguous, charged with an undertone of thoughtfulness. Broos mostly finds inspiration for her depictions of nature from her home environment of Värmland; the lake Fryken, the enormous forests that surrounds the lake’s beaches, or from her home in Östra Ämtervik.
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Broos employs her own photographs as inspiration and aide–memoires in what is a laborious artistic working process. It is a world inhabited by women that Broos depicts: women, but also children and dogs frozen in time. Their faces are repeatedly turned away, their task is not to meet the viewer’s gaze and their bodies are not reproduced in order to please an art audience. Broos’ models get to be themselves. Lost in thought, they seem relaxed and self–confident. The artist’s intimate relationship with the models undoubtedly plays a large part in this. Speglingar is the title of Ingela Lind and Hasse Persson’s book from 2011 about Karin Broos’ practice. In an interview with Hasse Persson Broos tells him that she could paint reflections on water for the rest of her life. That is how important and captivating water and its mirror–like surface is to her. Karin Broos had a somewhat late career breakthrough with an exhibition at Kristinehamns Konstmuseum in 2008, which was then followed by exhibitions at, amongst others, Borås Konstmuseum, Christian Larsen Gallery as well as Sven Harrys konstmusuem and Waldemarsudde in Stockholm. A major retrospective exhibition of her work has also toured the USA.
303. Karin Broos (Sweden, 1950–), ‘Gula Strömmen 1’. Signed Karin Broos and dated 2009 verso. Canvas 105 x 160 cm. (d) Estimate: SEK 250 000 – 300 000 / EUR 24 490 – 29 390
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BARBRO ÖSTLIHN Barbro Östlihn and her husband Öyvind Fahlstrom arrived in New York in the autumn of 1961. Thanks to their contacts they quickly became part of the New York art scene and many of the artist friends they socialised with were associated with the Pop Art movement, such as Tom and Clare Wesselmann, Claes Oldenburg, Robert Rauschenberg and Jasper Johns.
the massive silhouettes of skyscrapers and bridges, Ashton states. The artist and writer Donald Judd’s review in Arts Magazine is interesting in an art historical sense. He is, for example, one of the first to point out the influence of Magritte in Östlihn’s strict visual language. The exhibition was also appreciated and talked about in artistic circles.’
Manhattan was undergoing a seismic transformation in the sixties and Östlihn, energised by this metropolis, quickly discovered a way of relating artistically to the new environment. This method stayed with her throughout the fifteen years she spent in New York. As Östlihn wandered through the city with her camera she began to document, in her stylised paintings of facades and buildings, the big city in transformation.
‘These paintings have a conventional tone, most of the colors are muted. Magritte is a conspicuous influence. The paintings are very capable, and Östlihn’s use of Magritte’s idea is serious. Her ingenuity is sufficient to imply that her ingenuity may become sufficient...’, writes Donald Judd in Arts Magazine, January 1964.
In November 1963 Barbro Östlihn had a solo exhibition at Cordier & Ekstrom, the New York branch of Öyvind Fahlstrom’s Parisien gallerist Daniel Cordier. Here she displayed paintings executed between 1961 and 1963, exhibiting for the first time her facade paintings, including the painting in the auction; 2–4 Ferry St. NYC. The exhibition received a lot of attention and was written about in both the New York Times and the New York Herald Tribune. Annika Öhrner writes in her book Barbro Östlihn, ‘Liv och konst’ the following: ‘Dore Ashton described her painting in Studio International Art as a reaction against abstract expressionism’s desire for freedom. Barbro Östlihn combines, in an unusual way, an ornamental eye for detail with
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2–4 Ferry St. NYC fits well with Judd’s description in the review. The piece was bought from Cordier & Ekstrom in 1968 and since then it has been part of The Byron Collection, New York; not having been on the market for over fifty years.
315. Barbro Östlihn (Sweden, 1930–1995), ‘2–4 Ferry St. NYC’. Signed Östlihn and dated 1963. Also signed and dated verso. Oil on canvas 138 x 123.2 cm. (d) Estimate: SEK 200 000 – 250 000 / EUR 19 590 – 24 490
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306. Martin Wickström (Sweden, 1957–), ‘Blue in Green’. Signed Martin Wickström and dated 2007 verso. Diptych, oil on canvas 180 x 290 cm. (d) Estimate: SEK 300 000 – 400 000 / EUR 29 390 – 39 180
MARTIN WICKSTRÖM Martin Wickström belongs to the generation of post modernist painters that freely borrows expressions from pop culture and advertising, as well as pop art and photo realism. The painting ”Blue in Green” (2007) is one in a series expanding over several years where Martin Wickström pictures the play between light and shade on the facades of buildings facing the streets in suburbs, villages and citys ranging from little Finspång to New York City. As always the colors are strong, the cropping is brave and the painting technique flawless. The facades appear as thin and as flat as a painting. The afternoon light, both dream–like and melancholic, is minutely rendered with its shadows, sunspots and reflections on empty windows. No humans are visible. Wickström allows the viewer to imagine worlds hidden behind the facades. There is a kind of indifference to the world in these surfaces. The contrasts are powerful; the detail is precise and the painting perfect. Yet beneath the seemingly flawless surface lurks an abyss. The motifs are often both deeply personal and at the same time socially critical. Martin Wickström graduated from the Royal Institute of Art in Stockholm in 1987. He had his breakthrough in the mid–1990s and is today counted as one of Sweden’s most important contemporary artists.
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303. Karin Broos (Sweden, 1950–), ‘Gula Strömmen 1’. Signed Karin Broos and dated 2009 verso. Canvas 105 x 160 cm. Provenance: Christian Larsen, Stockholm. Literature: Ingela Lind & Hasse Persson, ‘Karin Broos – Speglingar’, 2011, illustrated on p. 12. (d)
Estimate: SEK 250 000 – 300 000 / EUR 24 490 – 29 390
304. Olle Borg (Sweden, 1960–), ‘Untitled’. Oil and laquer on aluminum 90 x 90 x 5 cm. Provenance: Tom Böttiger Collection, Stockholm. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
304A. Carl Hammoud, ‘Evolution’. Signed Carl Hammoud on verso. Executed in 2007. Diptych, oil on canvas 45 x 54 cm each. Provenance: SAK lottery, 2007.
Estimate: SEK 50 000 – 70 000 / EUR 4 900 – 6 860
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305. Withdrawn
305. Withdrawn 306. Martin Wickström (Sweden, 1957–), ‘Blue in Green’. Signed Martin Wickström and dated 2007 verso. Diptych, oil on canvas 180 x 290 cm. Provenance: Tom Böttinger Collection, Stockholm. Exhibitions: Eskilstuna konstmuseum, ‘Antia och havet’, 23 August – 12 October 2008. Virserums Konsthall, ‘Leka med Döden’, 2 October 2011–5 April 2012. Literature: Lars Liljendahl, Greger Ulf Nilson (ed), ‘Martin Wickström–99–09’, 2009, ill. p. 444–445. (d)
Estimate: SEK 300 000 – 400 000 / EUR 29 390 – 39 180
307. Linn Fernström (Sweden, 1974–), ‘Den stora mannen’. Signed Linn Fernström and dated 2004 verso. Canvas 101 x 110 cm. Provenance: Bo Siesjö Collection. Bukowski Auktioner, ‘Moderna Vårauktionen’, 2006, lot 604. Acquired from the above by the present owner. (d)
Estimate: SEK 100 000 – 125 000 / EUR 9 800 – 12 250
308. Ernst Billgren (Sweden, 1957–), ‘Fantomen’. Signed with monogram EB. Oil on panel in artist’s frame 105.5 x 136 cm. Provenance: Galleri Lars Bohman, Stockholm. Acquired in 2006. (d)
Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
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309. Lena Cronqvist (Sweden, 1938–), ‘Självporträtt i grönt’. Signed Lena Cronqvist. Canvas 132 x 90 cm. Provenance: Galleri Lars Bohman, Stockholm. Acquired in 2006. Exhibitions: Liljevalchs konsthall, Stockholm, ‘Lena Cronqvist’, October 12, 2013–January 6, 2014. (d)
Estimate: SEK 125 000 – 150 000 / EUR 12 250 – 14 700
310. Martin Wickström (Sweden, 1957–), ‘The Seven Seas III’. Signed Martin Wickström and dated 2018 verso. Canvas 60 x 65 cm. Provenance: Gallery Aveny, Gothenburg. Private Collection, Gothenburg. Exhibitions: Galerie Forsblom, ‘Popular Mechanics’, Helsinki, 2018. Galleri Aveny, Gothenburg, ‘Martin Wickström’, 2 November 2019–24 November 2019. Literature: Greger Ulf Nilson (ed.), ‘10_20 Martin Wickström’, 2021, illustrated p. 389 and listed under ‘Popular Mechanics’ in the list of works p. 421. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
311. Emanuel Röhss (Sweden, 1985–), ‘The Byzantine Family’. Executed in 2015. Polyurethane foam and acrylic paint, sculpture 80 x 80 x 75 cm. Provenance: Johan Berggren Gallery, Malmö. Private Collection, Stockholm. (d)
Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 960
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312. Alexander Klingspor (Sweden, 1977–), ‘Study of Terez’. Signed A. Klingspor. Panel 27 x 22 cm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
313. Alexander Klingspor (Sweden, 1977–), ‘Study of Malin’. Signed A. Klingspor. Panel 27 x 22 cm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
314. Alexander Klingspor (Sweden, 1977–), ‘Study of Julia’. Signed A. Klingspor. Panel 27 x 22 cm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
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315. Barbro Östlihn (Sweden, 1930–1995), ‘2–4 Ferry St. NYC’. Signed Östlihn and dated 1963. Also signed and dated verso. Oil on canvas 138 x 123.2 cm. Provenance: Cordier & Ekstrom, New York. The Byron Collection, New York. Acquired from the above in 1968. Exhibitions: Cordier & Ekstrom, New York, November 1963. (d)
Estimate: SEK 200 000 – 250 000 / EUR 19 590 – 24 490
316. Jan Håfström (Sweden, 1937–), ‘Skogsaltare I och II’. Signed Jan H underneath. Executed in 1970. Diptych. Painted plywood, plastic grass, plastic trees. Each part 36.7 x 25 x 9 cm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
317. Roj Friberg (Sweden, 1934–2016), ‘Fritt efter CF Hills tigrar’. Signed R.f and dated 02. Mixed media on paper 53 x 73 cm. (d)
Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 960
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318. Karin Mamma Andersson (Sweden, 1962–), ‘Treadmill’. Signed Karin Mamma Andersson and dated April May 2000 verso. Oil on panel 74 x 100 cm. Provenance: Carnegie Art Award 2000. Private Collection, Stockholm. Exhibitions: CCarnegie Art Award 2000; Kunsthalle Helsinki, Finland, 13–29 October 2000. Henie Onstad Kunstsenter, Hövikodden, Norway, 10 November – 3 December 2000. Göteborgs Konstmuseum, Gothenburg, 9 December 2000 – 7 January 2001. Sophienholm, Lyngby, Denmark, 26 January – 14 February 2001. The Royal Academy of Fine Arts, Stockholm, 23 February – 18 March 2001. Kópavogur Art Museum, Island, 7 April – 6 May 2001. Literature: Ulrika Levén (ed.), ‘Carnegie Art Award – Nordic Painting 2000’, 2000, reproduced on full page in colour on p 29. Moderna Museet exhibition catalogue, Ann–Sofi Noring (editor), ‘ Mamma Andersson’, 2007, reproduced on full page in colour. (d)
Estimate: SEK 800 000 – 1 000 000 / EUR 78 360 – 97 950
319. Marie–Louise Ekman (Sweden, 1944–), Untitled. Signed M.L Ekman and dated 2003 underneath. Object in mixed media in a sardine can, height ca 12 cm. Acrylic box included, height 14.5 cm. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
320. Olli Lyytikäinen (Finland, 1949–1987), ‘Form och innehåll (Självporträtt i eldsvåda)’. Signed Olli Lytti. and dated 1978. Watercolour on paper 20 x 14.5 cm. Provenance: Björn Springfeldt Family Collection, Stockholm. Exhibitions: Malmö Konsthall, 17 February – 1 April 1990. Nordiska Akvarellmuseet, ‘Olli Lyytikäinen’, 2 March – 4 May 2014. Salon Taidemuseo, ‘Olli Lyytikäinen, retrospektiivi’, 7 June – 28 September 2014. (d)
Estimate: SEK 40 000 – 60 000 / EUR 3 920 – 5 880
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321. Yngve Rådberg (Sweden, 1968–), ‘Bensinmack’. Signed Yngve Rådberg and dated 1999 verso. Panel 25.5 x 38 cm. Provenance: Galleri Olsson, Stockholm. Private Collection, Sweden. (d)
Estimate: SEK 35 000 – 40 000 / EUR 3 430 – 3 920
322. Emanuel Röhss (Sweden, 1985–), ‘Coral Diego’. Signed Emanuel Röhss and dated 2013 verso. Canvas 223 x 114 cm. Exhibitions: Santiago de Querétaro, Mexico, Museo de la Ciudad, ‘Emanuel Röhss Wey’, 14 December 2013–2 February 2014. (d)
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
323. Martin Wickström (Sweden, 1957–), ‘All Time High’. Signed Martin Mickström and dated 1989 verso. Oil on MDF, plastic, photography, plexi glass, and lamp, 80 x 112 x 15 cm. Provenance: Fredrik Roos Collection. Stockholms Auktionsverk, ‘Fredrik Roos nordiska samling från Rooseum’, 27/9–2006, lot no. 32. Tom Böttiger Collection, Stockholm. Exhibitions: Göran Engström, Stockholm 1989. Wasköpings Konsthall, Örebro 1989. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
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324. Anna Finney (Sweden, 1971–), Untitled. Signed Anna Finney and dated 2006 verso. Canvas 95 x 66 cm. Provenance: Brändström & Stene, Stockholm. (d)
Estimate: SEK 15 000 – 20 000 / EUR 1 470 – 1 960
325. Linn Fernström (Sweden, 1974–), ‘Kill Vill’. Signed Linn Fernström and dated 2004 verso. Mixed media on paper 106 x 78 cm. (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 940 – 3 430
326. Johan Thurfjell (Sweden, 1970–), Untitled. Signed Johan Thurfjell and dated 2005 verso. Mixed media on paper 34 x 47 cm. Provenance: Natalia Goldin, Stockholm. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
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327. Sten Eklund (Sweden, 1942–2009), ‘En hjältes död’. Signed and dated 80–82. Gouache on paper 28 x 32.5 cm. Provenance: Private Collection, Stockholm. Exhibitions: The American–Scandinavian Foundation, New York 1984, curated by Moderna Museet and Olle Granath. (d)
Estimate: SEK 10 000 – 15 000 / EUR 980 – 1 470
328. Ola Billgren (Sweden, 1940–2001), Untitled. Signed Ola Billgren and dated –71. Watercolour on paper 29.5 x 39.5 cm. (d)
Estimate: SEK 30 000 – 35 000 / EUR 2 940 – 3 430
329. Roger Risberg (Sweden, 1956–2011), ‘Tidningsläsaren’. Signed Roger Risberg and dated 1996 verso. Canvas 46.5 x 38.5 cm. (d)
Estimate: SEK 10 000 – 12 000 / EUR 980 – 1 180
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330. Martin Wickström (Sweden, 1957–), ‘And Child’. Signed Martin Wickström and dated 1991 verso. Oil and mixed media with electric light on panel 180 x 150 cm. Provenance: Acquired from the artist. Tom Böttiger Collection, Stockholm. Private Collection, Stockholm. (d)
Estimate: SEK 70 000 – 90 000 / EUR 6 860 – 8 820
331. Max Mikael Book (Sweden, 1953–), ‘Bank’. Signed Max Book and dated 1987 verso. Canvas 78 x 102 cm. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
332. Ulf Rollof (Sweden, 1961–), ‘Heart’. Executed in 2008. Oil paint on linen canvas and electric lightbox in mixed media 205 x 156 cm. (d)
Estimate: SEK 100 000 / EUR 9 800
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333. Max Mikael Book (Sweden, 1953–), ‘Ranger’. Signed MM Book and dated 1989 verso. Oil on canvas 100 x 115 cm. Exhibitions: Art Cologne, Cologne, solo exhibition, 1987. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
334. Roger Risberg (Sweden, 1956–2011), ‘Bakom berget’. Signed RR with monogram. Oil on canvas, 125 x 118 cm. Provenance: Bukowski Auktioner, ‘Moderna Vårauktionen’, April 27-30, 2009, lot 519; private collection. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
335. Lars Lerin (Sweden, 1954–), Tapetflagorna. Signed Lars Lerin. Watercolour on paper 72 x 102 cm. (d)
Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
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336. Linn Fernström (Sweden, 1974–), ‘Leoparddans’. Signed Linn Fernström and dated 2009 verso. Indian ink and oil pastel on paper 66 x 50 cm. Provenance: Lars Bohman Gallery, Stockholm. Exhibitions: Lars Bohman Gallery, Stockholm, ‘Linn Fernström’, 9 February – 21 February 2010. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
337. Christian–Pontus Andersson (Sweden, 1977–), ‘Oh Lord, to Follow Her Own Law is Not the Way of the Trannie’. Signed C.P.a. and dated 2007. Porcelain, partly lacquered in mother–of–pearl ca 83 x 78 x 35 cm. Edition of 6. Chromated foundation designed by the artist. Provenance: Christian Larsen, Stockholm. Acquired from the above in 2008. Exhibitions: Christian Larsen, Stockholm, ‘Cry Me the Sorrows’, 18 October – 18 November, 2007. Another example exhibited. (d)
Estimate: SEK 50 000 – 60 000 / EUR 4 900 – 5 880
338. Lotta Hannerz (Sweden, 1968–), ‘Picture II’. Signed and dated 00 verso. Canvas 54 x 73 cm. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
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TOM WESSELMANN Tom Wesselmann (1931–2004) moved to New York City after graduating from The Art Academy of Cincinnati. His goal was to become a cartoonist, but after being accepted at The Cooper Union he changed his mind and decided to focus on a career as an artist. During the second half of the 1950s he was initially consumed by ‘Action Painting’, but eventually decided to go in the opposite direction and paint figuratively. It quickly became apparent that Wesselmann was a great talent when he made his major breakthrough with the series Great American Nude, painted using only the colours of the American flag – red, white and blue. Following on from the success of this series Wesselmann changed direction and began to focus on more intimate and detail–oriented paintings, of which the Mouth series from 1965 and the Seascape series from 1966 are good examples. After this Wesselmann created the series Bedroom Paintings, which he continued to work on for some time. In this series fragments and details of various body parts, like a breast or a hand, are juxtaposed with everyday objects such as a telephone, a light switch, a flower or any object you might typically find in a bedroom. The painting up for auction, Study for Bedroom Painting #25 (1967), is an excellent example of the series and, as the piece has been in the same family for decades, the auction offers a rare opportunity to own one of these splendid works. Tom Wesselmann’s approach was to first make dozens of exploratory studies, then pick the drawings he was most satisfied with and enlarge them into a single study on canvas – such as the painting included in the auction – Study for Bedroom Painting #25. One of the drawings that this painting was based on is today included in MoMA’s collection and bears the same title. From here he would then select the most successful oil paintings to go on to create an even larger painting. We know that Study for Bedroom Painting #25 was enlarged to a bigger painting on canvas. As a still life the composition is brilliant; the shape of the orange is in perfect harmony with the curves of the breast and together create an intimate image. Such detachment to the human form may at first seem misogynistic or offensive by its removal of the woman’s subjectivity, however in his autobiographical writings, under the guise of his alter–ego Slim Stealingworth, Wesselmann wrote: ‘Personality would interfere with the bluntness of the fact of the nude. When body features were included, they were those important to erotic simplification, like lips and nipples. There was no modelling, no hint at dimension. Simply drawn lines were virtually a collage element – the addition of drawing to the painting. Historically, the nude as a subject has a somewhat intimate and personal relationship to the viewer. Wesselmann’s nudes transcended these characteristics. They abandoned human relationships and as a presence became more blunt and aggressive.’ (S. Stealingworth, Tom Wesselmann, 1980, New York, pp. 23–24). Truly, Wesselmann transfigured the female nude into a symbol of Pop Art and the sexual liberation of the 1960s. In the same way that Andy Warhol gave the soup can both higher meaning and meaninglessness, Wesselmann’s repeated reiterations of the nude, through the lens of Pop, simultaneously dehumanize the body as well as elevating it. He remained an active painter throughout his life and today we count him among the great Pop Art painters, even though he himself did not want to be part of a specific genre. His work is now represented by the two well–known and established galleries Gagosian and Almine Rech.
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343. Tom Wesselmann (USA, 1931–), ‘Study for Bedroom Painting #25’. Signed Wesselmann and dated 67 verso on the stretcher. Oil on canvas 14.5 x 18 cm. This work is registered in the archives of the Wesselmann Estate and Studio. Estimate: SEK 1 000 000 – 1 200 000 / EUR 97 950 – 117 540
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339. Linn Fernström (Sweden, 1974–), ‘Ballerina med tranor’. Signed Linn Fernström and dated 2019 on label verso. Mixed media on paper 66 x 50 cm. Provenance: Lars Bohman Gallery, Stockholm. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
340. Anthony Caro (Great Britain, 1924–2013), ‘Untitled (Writing Piece ‘Very’)’. Executed 1979. Assemblage with iron, 19 x 33 x 15 cm. Archive number B0518. Provenance: Björn Bentsson, Varberg Literature: Dieter Blume, ‘Anthony Caro. A Catalogue Raisonné, Vol II’, p. 126. (d)
Estimate: SEK 100 000 – 150 000 / EUR 9 800 – 14 700
341. Olli Lyytikäinen (Finland, 1949–1987), Romulus och Remus. Dated 1983. Inscribed ‘Kaikille joita asia koskee Kymmenen vuotta on pieni ikä’ (To whom it may concern Ten years is a small/low age). Watercolour on paper 18 x 23.7 cm. Provenance: Galerie du Nord, Borås, Sweden. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
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342. Yngve Holen (Germany, 1982–), ‘Your mother’s maiden name?’. Executed in 2012. VISA card, acrylic glass, cable, lock, trainers 150. Signed certificate accompanies the lot. Provenance: Johan Berggren Gallery, Malmö. Private Collection, Stockholm. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
343. Tom Wesselmann (USA, 1931–), ‘Study for Bedroom Painting #25’. Signed Wesselmann and dated 67 verso on the stretcher. Oil on canvas 14.5 x 18 cm. This work is registered in the archives of the Wesselmann Estate and Studio. Provenance: Private Collection, Sweden. Gift to the present owner in 1996.
Estimate: SEK 1 000 000 – 1 200 000 / EUR 97 950 – 117 540
344. Arman (Armand Pierre Fernandez) (France, 1928–2005), ‘Puristic Monochrome’. Signed Arman. Executed in 1990. Paint tubes mounted on plexi within a plexibox 94 x 64 cm. This work is registered in the Arman New York Studio Archives under APA#8024.90.010. (d) Import VAT will be charged on the hammer price on this lot.
Estimate: SEK 250 000 – 300 000 / EUR 24 490 – 29 390
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349. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘Hippos and Crocodiles’ from ‘I am a Wild Animal’. Signed certificate included in lot. Executed in 2011. Mixed media, dimensions variable. Original base included in lot 26 x 164 x 110 cm. (d) Estimate: SEK 500 000 – 600 000 / EUR 48 980 – 58 770
N AT H A L I E D J U R B E R G & H A N S B E R G Nathalie Djurberg and Hans Berg invites us to glimpse snippets of an entirely different world, one at the limits of our imagination – is it a dream, a fairy tale or a fancy dress show? The duo’s strange world of humour and darkness urges us to dare to explore human nature and ourselves! Djurberg and Berg are counted amongst Europe’s best and most unique artists. Djurberg creates stop–motion animations that musician and composer Berg, sets to music, in a close collaboration that began about fifteen years ago. Videos, spatial installations and sculptures form the foundation of their work. The relationship between humans, animals and forces of nature is the constant, vibrant theme that occupies their shared universe. The duo’s work contains a large amount of dark humour as well as references to popular culture and art history. Berg’s hypnotic music evocatively emphasises the various emotional states, propelling the story forward. The characters’ sense of isolation is clear – they often project a kind of loneliness, have low self–esteem or a distorted self–image, and looks or behaviours that aren’t usually socially accepted. The suffering, the inertia, the anger and the sadness – it is all a reflection of the artist herself, even if the events and the characters aren’t autobiographical. As the stories generally tend not to have a clear beginning or an end they are left open to interpretation. Perhaps something happens in a parallel world that changes the ending of the video, or lets it begin where the previous one ended? The films are often about daring to face your nightmares or fears, and having the courage to see what can come out of those encounters. The world is in constant transformation in Djurberg’s videos. Bodies lose their shapes and acquire new ones in complicated and grotesque metamorphoses. The boundary between animal and human is fluid – they move in the same worlds. The narrative technique is reminiscent of classic children’s stories. At first glance the films appear to follow a traditional narrative, but then surprise the viewer by turning into something completely unexpected. The characters, through instinctive actions, affirm and explore their sexuality and bestiality.
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Some characters and places recur, like the human figure with a red mask interacting with three hippopotamuses and three crocodiles in the video piece I am a Wild Animal from 2011. The sculpture group Hippos and Crocodiles form a kind of still image from this video, in which the viewer gets to follow, up close, how animals and humans simultaneously leave the ocean and take the evolutionary leap onto land. The story depicts a man’s awakening as he hears the opinions of animals on humans as more developed beings and that it is our pre–conceived ideas about animals that stop us from living in symbiosis. And just when an understanding between species appears to have been found, the crocodile still takes the conscious (or compulsive) decision to eat the man. Massimiliano Gioni writes the following lines in the Moderna Museet exhibition catalogue: “You could say that the all the characters in Djurberg and Berg’s digital fables long to become wild animals. This is almost a reversal of the logic you find in animated Disney films, the archetypes of almost all contemporary fairy tales. In Disney films the animals are metaphors for human behaviour and are domesticated; they are harmless, saccharine, standardised versions of ourselves. In Djurberg and Berg’s work, however, it is the humans that reveal their similarities with the animal kingdom’s beings, by embodying brutally simple desires and yearnings. The comparison with the animal world highlights the way that bestiality is an integrative part of humanity, perhaps even its most basic feature.” The auction also contains one of Djurberg and Berg’s early stop motion animations, the video Danse Macabre from 2005. This is how its narrative is described in the exhibition catalogue from Kunsthalle Wien, 2007: “In a labyrinthine suite of rooms with the chessboard–patterned floor so typical of Djuberg’s work, three cigarette–smoking burglars ambush a surprised, wealthy gathering of elegant society people. Sneaking up, with weapons at the ready, the burglars open fire on the celebrants, who, not being quite dead yet, immediately return fire. All those present die, lying on the floor in a puddle of blood. Next, they all come back to life again as zombies and execute a rigidly choreographed danse macabre.”
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356. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘So Much Delights’ from ‘Delights of an Undirected Mind’. Signed certificate included in lot. Executed in 2016. Fabric, filling, wire, epoxy resin, silicone, paint, wood 60 x 70 x 55 cm. (d) Estimate: SEK 850 000 – 950 000 / EUR 83 260 – 93 050
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The sculpture So Much Delights depicts a crocodile posing on a black pad with a baby rattle in one hand and a whip in the other. The character plays a role in Nathalie Djurberg and Hans Berg’s video piece Delights of an Undirected Mind from 2016. The video was shown at the Lisson Gallery in London, in a group show with the same name, in August 2021. Millie Walton visited the exhibition on behalf of the Guardian and was attracted by the intricate history of the piece: “The narrative plays out mainly in a child’s bedroom, where a little girl is being put to bed by an elephant in a dressing gown, but it’s when a tiger starts suckling at a cow’s teats that things get really out of hand. In comes a giraffe, a gleaming black octopus, a unicorn, a pair of cucumbers spooning, a mouse caressing a piece of cheese with legs and a crocodile wielding a leather whip. There’s a lot of caressing and writhing around on the bed, and then a can of condensed milk spills its sticky contents all over the sheets. It’s a humorous and hedonistic scene that vividly illuminates the darker undertones of children’s fairytales, but also makes reference to modern–day greed and the hypersexualisation of culture.”
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345. Gerald Davis (USA, 1974–), ‘Bacon Portrait’. Signed Gerald Davis and dated 2015 verso. Oil and collage on canvas 200 x 140 cm. Provenance: Stefan Lundgren, Palma.
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
346. Allan McCollum (USA, 1944–), ‘Plaster Surrogate’. Signed and dated ‘#1–8 1982’ verso. Inscribed ‘8’. Painted and laquered plaster 31 x 28.7 x 4 cm. Provenance: Galleri Nordanstad–Skarstedt, Stockholm. Acquired by the present owner in the 1980s.
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
347. Donald Baechler (USA, 1956–), ‘Thistle’. Signed DB and dated –99 verso. Acrylic and fabric collage on canvas 153 x 122 cm. Estimate: SEK 250 000 – 300 000 / EUR 24 490 – 29 390
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348. Eric Orr (USA, 1939–1998), ‘Time’s Shadow’. Signed Eric Orr and dated 1985 verso. Canvas 65.5 x 57.5 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
349. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘Hippos and Crocodiles’ from ‘I am a Wild Animal’. Signed certificate included in lot. Executed in 2011. Mixed media, dimensions variable. Original base included in lot 26 x 164 x 110 cm. Provenance: Gió Marconi, Milan. Private Collection, Hong Kong. (d)
Estimate: SEK 500 000 – 600 000 / EUR 48 980 – 58 770
350. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘I am a Wild Animal’. Signed Nathalie Djurberg and Hans Berg. Executed in 2011. Animated film, DVD and Digital Betacam, 4:43 min. Edition 3/4. Total edition 4 +2 AP. Signed certificate included in lot. Provenance: Gió Marconi, Milan. Private Collection, Hong Kong. (d)
Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
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ANDY WARHOL Ship was part of the series Toy Paintings (also known as Toy Series), executed in 1983 and commissioned by the legendary art dealer and collector Bruno Bischofberger in Zürich. He had simply asked Andy Warhol to make an exhibition for children. Warhol was quick to respond, he loved the idea, and composed a comprehensive series of 128 paintings depicting monkeys, parrots, dogs, clowns, robots and so on all in unique colour compositions. The artist had found the inspiration for the paintings in his own collection of wind–up mechanical toys. And as Warhol explained a year or so later in an interview in the New York Times, when about a hundred of his paintings were being shown at the Newport Art Museum, ‘Lots of international toys are included… because a lot of them are the cutest of any I’ve seen’. When the series was first shown at Galerie Bruno Bischofberger, under the exhibition title Paintings for Children (3rd December 1983 – 10th March 1984), the entire show was made as an installation. The walls were covered in distinctive wallpaper created especially for the exhibition, designed by Warhol and with a screen–printed decoration of identical repeating fish. This method of using wallpaper recurred often in Warhol’s work. At his first big museum show outside the USA, a major retrospective exhibition at Moderna Museet in Stockholm in 1968, Warhol had already covered the exterior walls of the museum in his own custom wallpaper of multi–coloured cows. Warhol employed this stylistic technique again for his show at the Whitney Museum of American Art in 1971, even if this time he had restrained himself and only covered the interior walls. On several subsequent occasions Warhol returned to creating wallpaper designs for exhibition walls of museums and galleries. In fact, the last wallpaper he did was for the exhibition in question, Paintings for Children in 1983, which included the toy paintings. Bischofberger decided together with Warhol that the paintings, which were made for children and in small formats, would be hung at the eye–level of an average 3–5 year old. The adult visitors had to crouch down as they moved around the gallery in order to see the works properly. Bischofberger also decided that any adult visitor not accompanied by a child under the age of six would have to pay entrance. The money later went to a charity project supporting vulnerable children. Bruno Bischofberger had worked with Andy Warhol since the 1960s. In 1965 he had included work by Warhol in an exhibition of Pop Art at his Zürich gallery. The following year they met in person for the first time at the Factory and a lifelong friendship began. Bischofberger was one of the founders of and an investor in Interview Magazine, started by Warhol and first published in 1969. Their creative and energetic collaborations resulted in a number of now legendary exhibitions. The provenance of Ship, the painting in the auction, is Bruno Bischofberger. It was purchased at the exhibition at Art Now Gallery in Gothenburg. 38 of the original paintings had been selected for the show, with Warhol himself attending the private view and, rumour has it, encouraging the visitors to buy a painting for their children. The buyers were told to hang it at a low level in the children’s room and then when the time had come for the child to go off to college or university this could be financed simply by selling the piece off. 352. Andy Warhol (USA, 1928–1987), ‘Ship (Toy Painting)’. Signed Andy Warhol and dated 1983 on the overlap verso. Acrylic and silkscreen on canvas 28 x 35.5 cm. Estimate: SEK 1 500 000 – 1 800 000 / EUR 146 920 – 176 300
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351. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘Danse Macabre’. Signed Nathalie Djurberg. Executed in 2005. Animated film, DVD, 5:08 min. Edition 2/4 +2 AP. Signed certificate included in lot. Provenance: Gió Marconi, Milan. Private Collection, Turin. Acquired from the above by the present owner. Literature: Gerald Matt, Nathalie Djurberg, “Denn es ist schon zu leben”, 2007, illustrated p. 40 - 41, mentioned p. 86. Germano Celant, Nathalie Djurberg, “Turn into me”, 2009, illustrated on p. 122 - 123. (d)
Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
352. Andy Warhol (USA, 1928–1987), ‘Ship (Toy Painting)’. Signed Andy Warhol and dated 1983 on the overlap verso. Acrylic and silkscreen on canvas 28 x 35.5 cm. Provenance: Galleri Bruno Bischofberger, Zürich. Art Now Gallery, Gothenburg, acquired in 1984. Private Collection, Gothenburg. Exhibitions: Galleri Bruno Bischofberger, Zürich, ‘Children Paintings and Installation’, 3 December 1983 – 10 March 1984. Art Now Gallery, Gothenburg, ‘Children’s Paintings’, 1984. Artipelag, Stockholm, ‘The Legacy of Andy Warhol’, 15 April – 25 September 2016.
Estimate: SEK 1 500 000 – 1 800 000 / EUR 146 920 – 176 300
353. John Virtue (Great Britain, 1947–), ‘Landscape No. 177’. Signed John Virtue and dated 1992–1993 verso. Acrylic on canvas 92 x 122 cm. Provenance: Bernard Jacobson Gallery, London, where acquired by David Bowie. David Bowie Collection. Sotheby’s, ‘Bowie/Collector, Part II: Modern & Contemporary Art’, 11 November 2016, lot 277. Private Collection, Stockholm. (d)
Estimate: SEK 150 000 – 175 000 / EUR 14 700 – 17 140
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354. Donald Baechler (USA, 1956–), Untitled. Signed DB and dated 06. Mixed media and collage on paper 67 x 52 cm. Provenance: Lars Bohman Gallery, Stockholm.
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
355. Michael Manning (USA, 1985–), ‘Tom Yum Pizza’. Signed verso. Executed in 2014. Digital painting and acrylic on canvas 243 x 180 cm. Provenance: Carl Kostyál, London/Stockholm. Private Collection, Stockholm. Exhibitions: Carl Kostyál, Stockholm, “Wild Fusion”, 26 August - 28 September 2014.
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
356. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘So Much Delights’ from ‘Delights of an Undirected Mind’. Signed certificate included in lot. Executed in 2016. Fabric, filling, wire, epoxy resin, silicone, paint, wood 60 x 70 x 55 cm. Provenance: Lisson Gallery, London. Private Collection, Luxembourg. (d)
Estimate: SEK 850 000 – 950 000 / EUR 83 260 – 93 050
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CHRISTO & JEANNE–CLAUDE For more than 50 years the two artists, Christo (1935–2020) and Jeanne–Claude (1935–2009) worked together. Their gigantic and astounding art projects involving wrappings of both urban and natural landmarks have made them world–famous. They have mastered the creative process from idea to implementation and documentation. The couple met as early as 1958 in Paris, where Christo had come into contact with Western European art in the form of Nouveau Réalisme. They settled permanently in New York in 1964 and used the city as a reference point for the art projects that took them all across the world. That same year Christo started their iconic series ‘Store Front’, which used windows and doors covered with paper or draped in fabric to create architectural sculptures. Unlike earlier works, this series redefined the interior/exterior relationship. Their first three Store Fronts were executed for exhibitions in New York, Paris and Toulouse. After that, ‘Orange Store Front’ was created and then ‘Yellow Store Front’. For these projects, Christo used old wooden panels, doors and fixtures from demolition sites in Lower Manhattan, which gave the pieces a patinated look. The major art project ‘Corridor Store Front’ was shown at the international exhibition Documenta 4 in Kassel, Germany, 1968. The installation stretched over an area of 140 square meters. Before these projects were installed in real life, the artworks created in the Christo studio are considered the most important steps in his creative process. They are of great value as documentation of the projects’ artistic development and should be considered as separate works. ‘Store Front (Project)’ from 1964, included in this auction, is one of the central studies for the Store Front series. It has been in the Aronowitsch family since the well–established gallery owner William Aronowitsch bought the piece directly from Christo in the late 1960s, and has since been in his private collection. The artwork was shown at Galerie Aronowitsch in Stockholm 1974 at the exhibition ‘Christo: Projects and Studies for Store Fronts 1964–65 and Gallery Projects 1974’. Although neither Christo nor Jeanne–Claude are sadly alive today, their final monumental installation is currently making headlines all over the world – a posthumous wrapping of the triumphal arch in Paris, ‘L’Arc de Triomphe, Wrapped’. Christo had been fascinated by the triumphal arch since the first time he came to Paris and rented a room nearby. The monument was wrapped for 16 days, from September 18 to October 3, 2021, as a final homage to the artist couple.
361. Christo & Jeanne–Claude (USA, 1935–2020), ‘Store Front (Project)’. Signed Christo and dated –64. Wood, fabric, mylar, masonite, wire mesh, enamel paint, card board, paper, charcoal, pencil, 122.3 x 90 x 13 cm. Estimate: SEK 2 000 000 – 2 500 000 / EUR 195 890 – 244 860
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Window installation by Christo at Galerie Aronowitsch.
All photographs taken by William Aronowitsch.
AN EXHIBITION ABOUT AN EXHIBITION – Galerie Aronowitsch, Christo, Projects and Studies for Storefronts 1964–65 and Gallery Projects April, May 1974. Bukowskis are proud to present An Exhibition About an Exhibition – Christo, Projects and Studies for Storefronts 1964–65 and Gallery Projects April, May 1974. The show will take place throughout the viewing of our Contemporary Art & Design auction and in connection with the sale of the piece Store Front (Project) by Christo and Jeanne–Claude. This work was exhibited at Galerie Aronowitsch. In 1974, Christo himself was in Stockholm for the exhibition at the legendary gallery, then situated on Strandvägen. During the duration of the show the gallery was wrapped. It remains the only project executed by Christo in Sweden. In An Exhibition About an Exhibition four original works by Christo and Jeanne–Claude will be on show, of which one will be offered for sale at the auction on the 2nd of November. The original works will be displayed together with posters from the exhibition in 1974 as well as with photographs taken by the legendary gallerist William Aronowitsch.
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Christo’s installation by night.
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Galerie Aronowitsch at Strandvägen, Christo’s installation in the windows.
Christo, Margareta Abrahamsson, unknown man.
Part of the gallery exhibition in 1974.
Christo in the gallery.
Peder Bonnier and Christo.
Part of the gallery exhibition in 1974.
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ALICJA KWADE In her artistic practice Alicja Kwade (b. 1979) examines and questions structures in our society, reflecting on our conception of everyday time – subjects that are highly relevant today. Her work engages with space, time, science and philosophy, expressed in sculptural objects where Kwade has manipulated the materials, such as wood, glass and copper, through various chemical processes. Her art also interweaves reflection and sounds in installations that force the viewer to question their perception of reality and the ongoing changes to our world. The piece in the auction, 39 seconds (2016), consists of interlinked brass rings representing a rendition by Kwade of the exact positions of a ring in movement during 39 seconds. In an article in the journal Frame, Kwade describes her method in relation to a similar piece, 88 seconds: ‘I spun a silver ring on a mapped floor space and filmed the spinning ring with four cameras for 88 seconds, capturing the entirety of its rotational movements. Using a computer, I could see exactly where the ring had been in the space at any given moment. Then I made 3D models and physical models, which culminated in a tangle of circles that represent the object’s movement. It reminds me of Eadweard Muybridge’s motion photography.’ (29 November 2020, Frame, Anna Sansom) Alicja Kwade (born 1979) was already exhibiting at Hamburger Bahnhof in Berlin in 2008, and had her breakthrough at the beginning of the 2010s. Since then her career has skyrocketed and in 2017 she was invited to participate in the Venice Biennale. Born in Katowice, Poland, she is currently based in Berlin and exhibits at major galleries such as König Galerie in Berlin, Kamel Mennour in Paris, and 303 Gallery in New York. 359. Alicja Kwade (Germany, 1979–), ‘39 seconds’. A signed certificate of authenticity executed by 303 Gallery accompanies the lot. Executed in 2016. Unique. 13 brassrings 128 x 167 x 165 cm. (d) Estimate: SEK 450 000 – 500 000 / EUR 44 080 – 48 980
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357. Matias Faldbakken (Norway, 1973–), ‘Fashioned by Slavery (Oslo #03)’. Signed Matias F and dated 2012 verso. Unique. Indian ink on framed lightjet print. 163 x 121 cm including frame. Provenance: Standard, Oslo. Carl Kostyál, Stockholm. (d)
Estimate: SEK 50 000 – 70 000 / EUR 4 900 – 6 860
358. Matthias Weischer (Germany, 1973–), Ohne titel (Zeichnung). Executed 2006. Charcoal on paper 29 x 38 cm. Provenance: Galerie EIGEN+ART, Leipzig/Berlin. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
359. Alicja Kwade (Germany, 1979–), ‘39 seconds’. A signed certificate of authenticity executed by 303 Gallery accompanies the lot. Executed in 2016. Unique. 13 brassrings 128 x 167 x 165 cm. Provenance: König Galerie, Berlin. Private Collection, Stockholm. (d)
Estimate: SEK 450 000 – 500 000 / EUR 44 080 – 48 980
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360. Nicola de Maria (Italy, 1954–), ‘Nubi in città’. Signed Nicola de Maria and dated 1981–1983 verso. Collage, mixed media on paper, and cardboard 23 x 33 cm. Provenance: Galerie Karsten Greve, Cologne. (d)
Estimate: SEK 60 000 – 80 000 / EUR 5 880 – 7 840
361. Christo & Jeanne–Claude (USA, 1935–2020), ‘Store Front (Project)’. Signed Christo and dated –64. Wood, fabric, mylar, masonite, wire mesh, enamel paint, card board, paper, charcoal, pencil, 122.3 x 90 x 13 cm. Provenance: Galerie Aronowitsch, Stockholm. Collection William Aronowitsch, Stockholm. Exhibitions: Galerie Aronowitsch, Stockholm, ‘Christo: Projects and Studies for Store Fronts 1964–65 and Gallery Projects 1974’, April–May 1974. The Royal Swedish Academy of Fine Arts, ‘Galerie Aronowitsch, En subjektiv historia’, 23 August – 23 September 2012. Literature: Malin Sveholm (ed.), “Galerie Aronowitsch, En subjektiv historia”, 2013, illustrated fullpage p. 23.
Estimate: SEK 2 000 000 – 2 500 000 / EUR 195 890 – 244 860
362. Tomasz Tatarczyk (Poland, 1947–2010), ‘Czarne Wzkórze’. Signed Tomasz Tatarczyk and dated 1990. Paper 85 x 128.5 cm. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
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S Y LV I A S L E I G H Sylvia Sleigh has, in her many period–defining portraits, succeeded in capturing the New York art and cultural scene of the 1960s and 70s. Her realistic and detailed paintings portray her friends and acquaintances amongst the cultural personalities, career–climbing artists and academics of the time. She documented central characters of the Second Wave feminist movement in art and worked for female artists’ rights and opportunities. She was, for example, one of twenty female artists that founded the artist run organisation SOHO20 Gallery. Her works are also records of a particular time, as she very carefully reproduced what was then the fashion in clothes, hairstyles and interiors. The round portrait in the auction depicts the artist and professor Mel Pekarsky. He is portrayed with a typical seventies moustache and is depicted against what would have been a traditionally female–coded backdrop of beautiful flowers. The willow in the background can be found in several of Sleigh’s paintings, like in The Willow: Silvia Castro from 1974. Similar portraits are included in, for example, the collections of MoMA.
by creating empathetic and respectful portraits where the model wasn’t objectified. ‘I made a point of finding models [in the 60s], and I painted them as portraits, not as sex objects, but sympathetically as intelligent and admired, not as women had so often been depicted as unindividuated houris [beautiful young women]. I had noted from my childhood that there were always pictures of beautiful women but very few of handsome men, so I thought it would be truly fair to paint handsome men for women.’ A few years after Sleigh’s death (aged 94) in 2010 a very comprehensive and major retrospective exhibition of her work was organised. She was, as previously mentioned, mostly known for her portraits, but she also painted still lifes and landscapes, which the audiences were now able to view in the touring exhibition that passed Kunstnernes Hus Oslo, Kunst Halle Sankt Gallen in Switzerland, Tate Liverpool, CAPC Musée d’Art Contemporain de Bordeaux, France, and Centro Andaluz de Arte Contemporáneo, Sevilla. Quote from kunstnerneshus.no
Many of Sleigh’s paintings are personal feminist comments on famous paintings from art history by, amongst others, Titian, Ingres and Velázquez. What these references share is that they are portraits or scenes where women are posed naked. She was bothered by the way women had been reproduced in art history and wanted, in a way, to modernise portraiture
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364. Sylvia Sleigh (Great Britain, 1916–2010), ‘Mel Pekarsky Tondo’. Executed in 1961. Oil on canvas 43.5 cm in diameter. (d) Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
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391. Keith Haring (USA, 1958–1990), ‘Pop Shop II (B)’. Screenprint in colour, 1988. Signed K. Haring and dated 88 and numbered 9/20 AP. Published by Martin Lawrence Limited Editions. I. 26.5 x 34 cm. Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
KEITH HARING Very few artists have come to define an era and place like Keith Haring. His distinctive expression, strongly influenced by the emergence of graffiti, tells of the dynamic and unique cultural environment that was surfacing in lower Manhattan, New York, during the 1980s. Haring was a pivotal part of this world where different cultures, sexualities and social classes were able to meet and collaborate together. He not only made an impression in the prominent art galleries of the time, but also in the world of music and fashion, and even today his art captures new passionate collectors.
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Keith Haring himself has described his work with the words: ‘The images are part of the collective consciousness of modern man. Sometimes they stem from world events, sometimes from ideas about technology or people changing roles in relation to God and evolution. All of the drawings use images that universally ‘readable’. They are are often inspired by popular culture.’
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363. Albert Contreras (USA, 1933–2017), ‘No. 8’’. Signed Contreras and dated 1967 verso. Canvas 31 x 31 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
364. Sylvia Sleigh (Great Britain, 1916–2010), ‘Mel Pekarsky Tondo’. Executed in 1961. Oil on canvas 43.5 cm in diameter. Provenance: Freymond–Guth, Schweiz. Acquired in 2011. Exhibitions: Kunstnernes Hus Oslo, ‘Sylvia Sleigh’, 11 May – 15 July 2012. Kunst Halle Sankt Gallen, ‘Sylvia Sleigh’, 6 October – 2 December 2012. CAPC, Musée d’Art Contemporain de Bordeaux, “Sylvia Sleigh, A Visceral Eye”, 16 May – 1 September 2013. Tate Liverpool, ‘Sylvia Sleigh’, 8 February – 3 May 2013. Centro Andaluz de Arte Contemporáneo, Sevilla, ‘Sylvia Sleigh, The Untimely Gaze’, 27 September 2013 – 12 January 2014. (d)
Estimate: SEK 40 000 – 50 000 / EUR 3 920 – 4 900
365. Leon Tarasewicz (Poland, 1957–), ‘Untitled’. Signed Leon Tarasewicz and dated 1997 verso. Oil on canvas 130 x 130 cm. Provenance: Galerie Nordenhake, Stockholm. (d)
Estimate: SEK 100 000 – 150 000 / EUR 9 800 – 14 700
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366. Andy Warhol (USA, 1928–1987), ‘Robot (Toy Painting)’. Signed Andy Warhol and dated 83 verso. Acrylic and silkscreen on canvas 25.3 x 20.4 cm. Provenance: Galerie Bruno Bischofberger, Zürich. Galleri Fabian Carlsson, Gothenburg. Art Now Gallery, Gothenburg. Acquired by the current owner at the opening in 1984. Exhibitions: Galleri Bruno Bischofberger, Zürich, ‘Children Paintings and Installation’, 3 December 1983–10 March 1984. Art Now Gallery, Gothenburg, ‘Children’s Paintings’, 1984.
Estimate: SEK 500 000 – 700 000 / EUR 48 980 – 68 560
367. Günter Umberg (Germany, 1942–), ‘Ohne titel’. Signed and dated 1987 verso. Pigment and dammar on aluminum 49 x 49.5 cm. Provenance: Galerie Nordenhake, Stockholm. Olle Emanuelsson Collection. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
368. Jason Middlebrook (USA, 1966–), ‘Earth Tree (Study for Sculpture I Want to Make)’. Signed Jason Middlebrook and dated 2009–2010 verso. Acrylic on panel 213.5 x 152.5 cm. Provenance: Galleri Charlotte Lund, Stockholm. Exhibitions: Galleri Charlotte Lund, Stockholm, ‘Jason Middlebrook: With the Grain’, 4 February – 20 March 2010.
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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369. Russ Warren (USA, 1951–), ‘Jumping Ship’. Signed Warren and dated 2/82 verso. Canvas 153 x 140 cm. Provenance: Fredrik Roos Collection. Stockholms Auktionsverk, ‘Moderna Kvalitén’, December 7, 1994, cat. no 1363.
Estimate: SEK 10 000 – 12 000 / EUR 980 – 1 180
370. Man Ray (France, 1890–1976), ‘Presse–papier à Priape’. Marble. In four parts, one marble cylinder and three balls. Signed and numbered 111/500. Height 52 cm. Literature: Man Ray, ‘Objets de mon affection – Sculptures et Objets’, 1983, no. 23, silver version, p. 36. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
371. Robert Swain (USA, 1940–), ‘Untitled’. Signed Robert Swain NYC and dated 1978 verso. Acrylic polymer emulsion (liquitex) on canvas 215 x 210 cm. Estimate: SEK 60 000 – 70 000 / EUR 5 880 – 6 860
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372. James Brown (USA, 1951–2020), Untitled. Signed James Brown and dated Paris 1989 verso. Graphite on canvas 24 x 16 cm. Provenance: Galleri Farschou, Copenhagen.
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
373. Marianna Uutinen (Finland, 1961–), ‘Trosa’. Canvas 60 x 60 cm. Provenance: Lars Bohman Gallery, Stockholm. Stockholm Auktionsverk, 13 March 2013, lot 334. (d)
Estimate: SEK 8 000 – 10 000 / EUR 790 – 980
374. Cerith Wyn Evans (Great Britain, 1958–), ‘Ohne Titel (Dag Hammaskjöld)’ from ‘Portraits of Greatness’ after Y. Karsh. Executed in 2003. Paper 30.5 x 23.7 cm. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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375. José Mijares (Cuba, 1921–2004), Untitled. Signed Mijares. Mixed media on paper 23 x 18 cm. Provenance: A gift from the artist to the present owner.
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
376A. Tom of Finland (Finland 1920–1991), Untitled. Signed Tom 88. Pencil on paper 38.5 x 30 cm. (d)
Estimate: SEK 50 000 – 70 000 / EUR 4 900 – 6 860
377A. Tom of Finland (Finland 1920–1991), Untitled. Unsigned. Pencil on paper laid down on cardboard, 28.5 x 28 cm. The book ‘Tom of Finland, The art of pleasure’, Taschen, 1998 included in lot. (d)
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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378. Francis Bacon (Great Britain, 1909–1992), ‘Oedipus and the sphinx’. Lithograph in colour, 1984. Signed Francis Bacon and numbered 82/150 in pencil. L: 117 x 86 cm. Literature: Sabatier 18. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
379. Banksy (Great Britain, 1974–), ‘Flag (Silver)’. Silkscreen in colours, 2006. Numbered 201/1000 verso. Published by Pictures on Wall, London with their blindstamp. I. 50 x 70 cm. This lot is accompanied by a certificate of authenticity issued by Pest Control Office. (d)
Estimate: SEK 300 000 – 400 000 / EUR 29 390 – 39 180
380. Banksy (Great Britain, 1974–), ‘Love is in the air’. Screenprint in colours, 2003, signed Banksy and numbered 349/500. Published by Picture on Walls, London. S: 50 x 70 cm. This lot is accompanied by a certificate of authenticity issued by Pest Control Office. Provenance: Tate Modern Level 1 shop, London, 2012. Private collection, Sweden (acquired from the above). (d)
Estimate: SEK 1 000 000 – 1 500 000 / EUR 97 950 – 146 920
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380. Banksy (Great Britain, 1974–), ‘Love is in the air’. Screenprint in colours, 2003, signed Banksy and numbered 349/500. Published by Picture on Walls, London. S: 50 x 70 cm. This lot is accompanied by a certificate of authenticity issued by Pest Control Office. (d) Estimate: SEK 1 000 000 – 1 500 000 / EUR 97 950 – 146 920
BANKSY There are few contemporary artist's that have built a mythology around as Banksy have. Not least by keeping the real identity behind the works a mystery. In 2019, Banksy was voted Britain’s favourite artist, beating Leonardo da Vinci, Pablo Picasso and Claude Monet. His images has become iconic and always touched issues that both provoke and define our time. Banksy first became noticed while making grafiti art on the walls of Bristol in the early 1990s, but after moving to London in the early 2000s, he has made a huge impact not only on the art scene, but in popular culture. Always sending a message and never being afraid of raising the hard questions of our time. It seems that the more he takes sides the more his popularity rises. This autum, Bukowskis are proud to present four iconic works by Banksy, highlighted by ‘Love is in the Air’. A title that today also reflects his record breaking sale of ‘Love is in the Bin’, the work that self destructed seconds after it originaly was sold.
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381. Banksy (Great Britain, 1974–), ‘Sale Ends (V.2)’. Screenprint in colours, 2017, signed in pencil, dated and numbered 325/300, published by Pictures on Walls, London with their blindstamp. Sheet size 56 x 76 cm. This lot is accompanied by a certificate of authenticity issued by Pest Control Office. (d)
Estimate: SEK 350 000 – 400 000 / EUR 34 280 – 39 180
382. Banksy (Great Britain, 1974–), ‘CND’. Screenprint in colours, 2005, numbered 224/350, published by Pictures on Walls, London. S: 70 x 50 cm. This lot is accompanied by a certificate of authenticity issued by Pest Control Office. (d)
Estimate: SEK 500 000 – 600 000 / EUR 48 980 – 58 770
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383. Christo & Jeanne–Claude (USA, 1935–2020), ‘Corridor Store Front, Project’. Two–part screenprint with hinges in plexi, 1968. Signed Christo in pencil, dated and numbered 89/100. Published by Verlag Gerd Hatje, Stuttgart and printed by Hans–Peter Haas, Stuttgart. 70 x 54 cm. Literature: Schellmann 6.
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
384. Christo & Jeanne–Claude (USA, 1935–2020), ‘Wrapped book’. Multiple, the signed book ‘Christo’ wrapped in canvas and with twine, 1973. Signed in pen and numbered 9/100. Published by Abrams Original Editions, New York. 31 x 30 cm. Another copy of the signed book is included in the lot. Provenance: Acquired from the artist. Private collection, Sweden. Literature: Schellmann/Benecke 68.
Estimate: SEK 50 000 – 60 000 / EUR 4 900 – 5 880
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385. Christo & Jeanne–Claude (USA, 1935–2020), ‘Wrapped floors and covered windows (Project for Museum Würth, Künzeisa)’. Lithograph with collage of fabric, wrapping paper, and latex paint, 1995, signed in black crayon and numbered HC 5/20, published by Museum Würth, Künzeisa. I./S. 76.5 x 66 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
386. Christo & Jeanne–Claude (USA, 1935–2020), ‘The Gates, Central Park, New York’. Offset in colours, with fabric application, 2013, signed Christo in pencil. S. 83 x 122 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
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387. Christo & Jeanne–Claude (USA, 1935–2020), ‘Wrapped Reichstag (Project for Berlin)’. Offset in colours with fabric application, 1992. Signed and dated. 70 x 49 cm. Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 960
388. Christo & Jeanne–Claude (USA, 1935–2020), ‘The Gates XXIX (Project for Central Park, New York’.
389. Christo & Jeanne–Claude (USA, 1935–2020), ‘The Gates (Project for Central Park, New York City)’.
Offset lithograph in colours with fabric application, 2004. Signed Christo in pencil. 100 x 70 cm.
Offset in colour with fabric application. Signed Christo. 76 x 60 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
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Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
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390. Wade Guyton (USA, 1972–), ‘X Poster (Untitled, 2007, Epson UltraChrome inkjet on linen 84 x 69 inches, WG1210)’. Handfolded digital print witch archival UV–curable inks, 2018. Signed and numbered 58/100 on label. Published by Printed Matter Inc. Unframed in the original slipcase. S. 213.4 x 175.3 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 450 – 2 940
391. Keith Haring (USA, 1958–1990), ‘Pop Shop II (B)’. Screenprint in colour, 1988. Signed K. Haring and dated 88 and numbered 9/20 AP. Published by Martin Lawrence Limited Editions. I. 26.5 x 34 cm. Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
392. David Hockney (Great Britain, 1937–), ‘The Blue Guitar’ from: ‘The Blue Guitar’. Etching and aquatint, 1976–77, signed in pencil and numbered 45/200. Published by Petersburg Press, London. S. 52.4 x 45.5 cm. Literature: Scottish Arts Council 178. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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397. Roy Lichtenstein (USA, 1923–1997), ‘Foot and hand’. Offset lithograph in colour, 1964, signed in pencil and numbered 178/300, published by Leo Castelli Gallery, New York. I. 42.2 x 53.3 cm. S. 43.7 x 54.8 cm. Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
ROY LICHTENSTEIN Bukowskis has, at this autumn’s Contemporary Auction, been entrusted with presenting several unusual print works by the Pop Art icon Roy Lichtenstein. The works stretch from the 1960s up until the 90s. From the very beginning Lichtenstein was fascinated by how different techniques and printing methods could capture his artistic vision. Like many of his contemporaries, Lichtenstein explored where the borderline between ‘reproduction’ and ‘original work’ could be drawn, challenging the traditional idea of what is counted as authentic work. Lichtenstein began his career as an artist using imagery inspired by the aesthetics of comic books, but continued throughout his life to experiment with different styles. The collaboration with G.E.L. in California made a big impact on his production of prints, helping him to explore new techniques and possibilities in creating print editions that today are sought-after across the world. In 1988 he executed the series Imperfects – geometric abstractions of eccentric shape – a good example of his later production. The series is described as follows in his Catalogue Raisonné: ‘In February 1987, this print series was begun at Gemini G.E.L. Each of the printed images actually does break out of the border, extending at one or more points into the surrounding margin. The Imperfect series, printed on 4–ply Museum Board, combines woodcut and screenprint, and all but one have metalized Mylar collage elements. Lichtenstein sent the black-line drawings for the prints to Gemini in advance of his arrival, but worked out the colors there. For the woodcut portions, Lichtenstein cut the outline (key block), and the large flat areas were printed separately from jigsaw cut out sections.’
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393. David Hockney (Great Britain, 1937–), ‘Tick It, Tock It, Turn It True’ from: ‘The Blue Guitar’. Etching and aquatint, 1976–77, signed in pencil and numbered 168/200. Published 1977 by Petersburg Press, London. S: 52.4 x 45.5 cm. Literature: Scottish Art Council 213. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
394. David Hockney (Great Britain, 1937–), ‘A Moving Still Life’ from: ‘The Blue Guitar’. Etching and aquatint, 1976–77, signed in pencil and numbered 168/200. Published 1977 by Petersburg Press, London. S: 45.5 x 52.4 cm. Literature: Scottish Arts Council 216. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
395. David Hockney (Great Britain, 1937–), ‘A Picture of Ourselves’ from: ‘The Blue Guitar’. Etching and aquatint, 1976–77, signed in pencil and numbered 94/200. Published 1977 by Petersburg Press, London. S. 45.5 x 52.4 cm. Literature: Scottish Arts Council 210. (d)
Estimate: SEK 20 000 – 25 000 / EUR 1 960 – 2 450
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396. Damien Hirst (Great Britain, 1965–), ‘Gold Gift Spot’. Aurous Iodide Screenprint in colours with gold glitter, 2009, signed and numbered 8/150 in pencil. I: 75.5 x 55.5 cm. (d)
Estimate: SEK 100 000 – 150 000 / EUR 9 800 – 14 700
397. Roy Lichtenstein (USA, 1923–1997), ‘Foot and hand’. Offset lithograph in colour, 1964, signed in pencil and numbered 178/300, published by Leo Castelli Gallery, New York. I. 42.2 x 53.3 cm. S. 43.7 x 54.8 cm. Provenance: Keith .H. Barker Collection, New York; Christie’s, New York, 1986; Private Collection, Sweden. Literature: Corlett II.4
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
398. Roy Lichtenstein (USA, 1923–1997), ‘Mirror #6’. Lithograph and screenprint on Arjomari paper, 1972. Signed and dated in pencil, numbered 70/90. Printed and published by Gemini G.E.L, Los Angeles, with their blind stamp. I: 81.4 x 55.7 cm. Literature: Corlett 111.
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
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399. Roy Lichtenstein (USA, 1923–1997), ‘Morton A. Mort’. Woodcut in colours, 1980, signed in pencil and numbered 41/50. Printed and published by Gemini G.E.L., Los Angeles. S. 75 x 99 cm. Provenance: Marie–Louise Wirth Gallery, Zürich. Literature: Corlett 178.
Estimate: SEK 100 000 – 120 000 / EUR 9 800 – 11 760
400. Roy Lichtenstein (USA, 1923–1997), ‘Before the Mirror’. Lithograph and screenprint with embossing, 1975. Signed and numbered §pp 4/5 and dated –75. Published by Multiples Inc., and Castelli Graphics, New York. Printed by Styra Studio, New York. I. 89.5 x 63.5 cm, S. 108.5 x 81 cm (BFK Rives). Literature: Corlett 135.
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
401. Roy Lichtenstein (USA, 1923–1997), ‘Imperfect’. Woodcut, screenprint and collage on 3–ply Supra 100 paper. Signed Rf Lichtenstein and dated –88 in pencil, numbered 14/45. Published and printed by Gemini G.E.L, Los Angeles. I: 150 x 217.8, S: 171.8 x 232.4 cm. Literature: Corlett 222.
Estimate: SEK 300 000 – 400 000 / EUR 29 390 – 39 180
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402. Roy Lichtenstein (USA, 1923–1997), ‘Nude in the woods’, from: ‘Expressionist Woodcut Series’. Woodcut in colours with embossing, 1980, signed in pencil, dated and numbered 4/50. Printed and published by Gemini G.E.L., Los Angeles with their blindstamp. S. 101 x 90.5 cm (Arches). Provenance: Thordén Wetterling Galleries, Gothenburg. Literature: Corlett 174.
Estimate: SEK 120 000 – 130 000 / EUR 11 760 – 12 740
403. Roy Lichtenstein (USA, 1923–1997), ‘Modern Head #2’, from: ‘Modern Head series’. Lithograph and lino–cut with embossing, 1970, signed and numbered 7/100 in pencil. Published by Gemini G.E.L., Los Angeles, with their blind stamp. S. 61 x 46.5 cm (Waterleaf). Literature: Corlett 92.
Estimate: SEK 125 000 – 150 000 / EUR 12 250 – 14 700
404. Julian Opie (Great Britain, 1958–), ‘This is Shahnoza. 2’. Silkscreen, 2016. Signed in pencil and numbered 9/40. Published by Alan Cristea Gallery, London. S. 57 x 136 cm (Somerset Satin paper). Literature: Alan Cristea 59. (d)
Estimate: SEK 80 000 – 100 000 / EUR 7 840 – 9 800
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405. Takashi Murakami (Japan, 1962–), ‘Flowers Blooming in This World and the Land of Nirvana 2’. Offset lithograph in colours with silver foil, 2013, signed with silver pen and numbered 19/300. Published by Kaikai Kiki, Tokyo. I. 50 x 50 cm. Provenance: Galerie Perrotin, Paris.
Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 470
405A. Eddie Martinez, Untitled. Woodcut, 2008, signed E Martinez in pencil, dated and numbered 8/30. 43 x 64 cm. Provenance: Loyal Gallery, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 940 – 3 920
406. Robert Rauschenberg (USA, 1925–2008), ‘The Razorback Bunch (Etching IV)’. Photo etching, 1981, signed in pencil, numbered 25/26 and dated. Published and printed by Universal Limited Art Edtions, West Islip, New York. S. 115 x 60 cm (on Hosho Chine collé to Arches paper). Literature: Esther Sparks 109.
Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 960
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407. Frank Stella (USA 1936–), ‘The Funeral (Dome)’ from: ‘Moby Dick Domes Series’. Etching, aquatint, relief, and engraving on shaped TGL handmade, hand–colored paper, 1992. Printed and published by Tyler Graphics, Ltd., Mt. Kisco. 184 x 137 cm. Literature: Axsom/Kolb 208.
Estimate: SEK 150 000 – 200 000 / EUR 14 700 – 19 590
408. Andy Warhol (USA, 1928–1987), ‘Mao’. Silkscreen in colours, 1972, signed with ball point pen and numbered with rubber stamp 207/250 verso, printed by Styria Studio, Inc., I./S. 91.5 x 91. 5 cm. Literature: Feldman II. 91.
Estimate: SEK 350 000 – 400 000 / EUR 34 280 – 39 180
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408A. Andy Warhol, ‘Three portraits of Ingrid Bergman by Andy Warhol’. The complete portfolio with three silkscreens in colours, 1983, each signed in pencil and numbered 123/250, printed by Rupert Jasen Smith, New York, published by Galerie Börjeson, Malmö. I./S: 96.5 x 96.5 cm. Literature: Feldman II.313.
Estimate: SEK 800 000 – 1 000 000 / EUR 78 360 – 97 950
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CONTEMPORARY ART & DESIGN NO 635
BUKOW S K I S
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NOV 2021