Contemporary Art & Design 642

For inquiries please contact

Head Specialist Contemporary & Modern Design Jonatan Jahn, +46 703 92 88 60 jonatan.jahn@bukowskis.com

Head of Design/Head of Modern Decorative Art & Design Camilla Behrer, +46 708 92 19 77 camilla.behrer@bukowskis.com

Chief Specialist Modern & Contemporary Decorative Art & Design Eva Seeman, +46 708 92 19 69 eva.seeman@bukowskis.com

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

Head Specialist Art

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

Specialist Contemporary Art

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

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

Specialist Prints

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

Cover: Robert Frank, ‘Covered Car, Long Beach, California’, 1956.

Back: Annika von Hausswolff, ‘Sad Memories of Pink #2’, 2004. Matteo Thun, a table lamp, ‘Memphis’, ed. 9/200, Drimmer, France, c. 1982. Aldo Cibic, a table lamp, ‘Memphis’, ed. 22/200, Drimmer, France, c. 1982. Michele de Lucchi, a table lamp, ‘Memphis’, ed. 12/200, Drimmer, France, c. 1982.

Gerard Taylor, a table lamp, ‘Memphis’, ed. 16/200, Drimmer, France, c. 1982. An Italian terazzo low table, 1980s.

WEDNESDAY

O CTOBER 26

Lot. no Design 1 – 116

From 10 am (CEST)

Lars Wetterling Collection

– 161

From 1 pm (CEST)

Lot. no Photography

– 270 Contemporary Art

Prints

– 457A

– 496

From 7 pm (CEST)

– 110

Lot. no I mportant Timepieces N° 643

Annika von Hausswolff,

Memories of Pink #2’, 2004.

Matteo Thun, a table lamp, ‘Memphis’, ed. 9/200, Drimmer, France, c. 1982.

Michele de Lucchi, a table lamp, ‘Memphis’, ed. 12/200, Drimmer, France, c. 1982.

Gerard Taylor, a table lamp, ‘Memphis’, ed. 16/200, Drimmer, France, c. 1982.

Aldo Cibic, a table lamp, ‘Memphis’, ed. 22/200, Drimmer, France, c. 1982.

An Italian terazzo low table, 1980s.

THE JORMA SÖDERSTRÖM COLLECTION–LOT

Jorma Söderström began his career in the furniture industry at a company called ‘Kjellens Möbler’ where he worked as an assembler of furniture and eventually as a salesperson. He subsequently started working at Nordiska Galleriet as a salesperson (under owner Carl–Magnus Heigard). After some 7 years at Nordiska Galleriet, Jorma opened his own company called ‘Inside AB’ on Karlavägen. He became a very influential agent for many international brands. Inside AB became successful and they expanded the business with stores in Gallerian in the city centre and another in a suburban mall. The main target were private and business clients interested in contemporary designer furniture from both international and Swedish furniture and light ing companies. Jorma did also open another showroom together with the

Italian company Tecno at Kungsgatan in Stockholm. After about 15 years Jorma sold his shares in both Inside and Tecno. Jorma still wanted to continue with furniture after he sold the companies and started a new company called ‘Outside AB’ in Upplands Väsby, a northern suburb of Stockholm. The company expanded with a store in Malmö, before Jorma decided to wind down his business in early 1990.

This collection of luminaires was acquired by Jorma in the first half of the 1980s and is significant of its time and the era in which Jorma worked when he founded Inside AB. Jorma Söderström passed away in February 2022.

1. George J. Sowden (Great Britain, 1942–), a table lamp, ‘Memphis’, ed. 13/200, Drimmer, France, c. 1982.

Black and white glazed ceramic base, textile shade with pink printed pattern, signed ‘George James Sowden Memphis 13/200 Drimmer’, height 48 cm, diameter 55 cm. Certificate included.

Provenance: Jorma Söderström, founder of Inside AB, and Outside AB. Acquired at the Milano furniture fair in the early 1980s. (d)

Estimate: SEK 4 000

2. Gerard Taylor (Great Britain), a table lamp, ‘Memphis’, ed. 16/200, Drimmer, France, c. 1982.

Grey and pink glazed ceramic base on a green lacquered metal foot, glass shade, signed ‘Gerard Taylor Memphis 16/200 Drimmer’, height 62 cm.

Provenance: Jorma Söderström, founder of Inside AB, and Outside AB. Acquired at the Milano furniture fair in the early 1980s. (d)

Estimate: SEK

3. Matteo Thun (Italy, 1952–), a table lamp, ‘Memphis’, ed. 9/200, Drimmer, France, c. 1982.

Pink, orange and black/white glazed ceramic base, textile shade, signed ‘Matteo Thun Memphis 9/200 Drimmer’, height 56 cm.

Provenance: Jorma Söderström, founder of Inside AB, and Outside AB. Acquired at the Milano furniture fair in the early 1980s. (d)

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

5. Aldo Cibic (Italy, 1955–), a table lamp, ‘Memphis’, ed. 22/200, Drimmer, France, c. 1982.

Blue, grey and white glazed ceramic base, glass shade and disc, signed ‘Aldo Cibic, Memphis 22/200 Drimmer’, height 42 cm. Certificate included.

Provenance: Jorma Söderström, founder of Inside AB, and Outside AB. Acquired at the Milano furniture fair in the early 1980s. (d)

Estimate: SEK 4 000

6 000

EUR 380

570

4. Michele de Lucchi (Italy, 1951–), a table lamp, ‘Memphis’, ed. 12/200, Drimmer, France, c. 1982.

Black, turquoise and white glazed ceramic base, textile shade with pink printed pattern, signed ‘Michele de Lucchi Memphis 12/200 Drimmer’, height 45 cm. Certificate included.

Provenance: Jorma Söderström, founder of Inside AB, and Outside AB. Acquired at the Milano furniture fair in the early 1980s. (d)

Estimate:

4 000

6. Richard Sapper (Germany, 1932–), a ‘Tizio’ table lamp for Artemide, Italy, post 1972.

Black lacquered plastic and metal, the arm with counter weight, adjustable, marked ‘Artemide’, height c. 70 cm.

Provenance: Jorma Söderström, founder of Inside AB, and Outside AB. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380

7. Studio OPI (Franco Bettonica & Mario Melocchi) (Italy), a set of three table lamps, ‘Cuboluche’, Cini & Nils, Milan, Italy, c. 1972.

Black, white and checkered plastic, maker’s mark ‘Cini & Nils design OPI Milano’, height with closed lids 11 cm.

Provenance:

Estimate:

8. Ingo Maurer (Germany, 1932–2019), a ‘BiBiBiBi’, table lamp, ed. 137/500, Germany, 1980s.

White ceramic base, red plastic legs, body in black lacquered metal, metal arm, signed ‘bibibibi Ingo Maurer 137/500’, height c. 50 cm.

Provenance: Jorma Söderström, founder of Inside AB, and Outside AB.

Estimate:

9. Piero Fornasetti (Italy, 1913–1988). A bar stool, Milano, Italy 1960–70s.

Metal base lacquered in red/orange, seat in black leather, maker’s mark Fornasetti, seat height 97 cm, height 108 cm.

Estimate:

Soto Climent,

10. Ettore Sottsass (Italy, 1917– 2007), an ‘Ultrafragola’, mirror, Poltronova, Italy, 21st century.

Acrylic front, glass mirror, pink internal lighting, makers mark ‘Ultrafragola Ettore Sottsass, Centro Studio Poltronova’, height 195 cm, width 100 cm.

Estimate: SEK 50 000 – 60 000 / EUR 4 700 – 5 640

11. Ettore Sottsass (Italy, 1917– 2007), a ‘Tahiti’, table lamp, Memphis, Milan, post 1981.

Base in ‘Bacterio’ patterned laminate, polychrome enamelled metal, adjustable shade with one light socket, marked with label: ‘Memphis Milano Ettore Sottsass 1981 Made in Italy’, height 66–71 cm.

Estimate: SEK 10 000 – 15 000 / EUR 940 – 1 410

12. Gaetano Pesce (Italy, 1939–), a modular ‘Cannaregio’, sofa, Cassina, Italy, post 1987.

Six modules, upholstered in various and

textile, maker’s mark

modules without armrests height

for mounting the

Estimate:

cm,

cm.

cm,

cm. Two modules with

and

13. Willy Rizzo (Italy, 1928– 2013), a bar table, Cidue, Italy, 1970s.

Burled wood veneer and black laminate, hidden drink’s cabinet below the table top, height 29 cm, length 125 cm, width 61 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

14. Mario Botta (Switzerland, 1943–), a ‘Seconda chair’, Alias, Italy, 1980s.

Lacquered metal, seat in perforated metal, backrest in rubber, seat height 46 cm, height 72 cm.

Provenance: Siwert Bergström, Galleri GKM, Malmö.

Estimate: SEK 3 000 – 4 000 / EUR 290 – 380

15. Mario Botta (Switzerland, 1943–), a ‘Quinta’ chair, Alias, Italy, 1980s.

Metal lacquered in mint green, seat and back in perforated metal, seat height 42 cm, height 93 cm.

Provenance: Siwert Bergström, Galleri GKM, Malmö.

Estimate: SEK 4 000 – 5 000 / EUR 380 – 470

16. Mario Botta (Switzerland, 1943–), a ‘Shogun’ floor lamp for Artemide, Italy, post 1986.

Base in lacquered metal, shade in perforated metal, marked ‘Design Mario Botta Artemide Italy’, height 220 cm.

Provenance: Siwert Bergström, Galleri GKM, Malmö.

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

17. Kara Mann (USA), a sideboard, ‘Wrap Console’, Milling Road, 21st century.

Brass and black lacquered metal base, white stained oak table top, maker’s mark, height 86.5 cm, width 42.5 cm, length 185 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

18. Pia Wallén (Sweden, 1957–), a carpet, tufted, signed ‘Pia’, c. 249 x 169 cm.

Large polychrome stripe pattern in various shades of black and white. The back with the writing ‘Pia Wallén. Tufted in Thailand’.

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

22. Tobia Scarpa (Italy, 1935–), & Afra Scarpa, ‘Monk’ low table, Molteni, Italy, 1970s.

Walnut and black laminate, height 37 cm, the top 94 x 94 cm.

Estimate: SEK 5 000 – 7 000 / EUR 470 – 660

23. Mario Botta (Switzerland, 1943–), a ‘Zefiro’, ceiling lamp, Artemide, Italy, 1980s.

Metal frame lacquered in black, shade in white lacquered and perforated metal, one light socket, maker’s mark ‘Artemide’, height 107 cm, width 94 cm.

Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130

24. Vico Magistretti (Italy, 1920 – 2006), an ‘Atollo’, table lamp, Oluce, Italy, post 1977.

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

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

25. Mats Theselius (Sweden, 1956–), a pair of easy chairs, ‘The Bamboo King’, ed. 171–172/360, Källemo, Sweden, post 2000.

Base in black lacquered tubular steel, armrests wound with bamboo, seat and back upholstered and covered in black and grey textile, marked to the back ‘The Bamboo King by Mats Theselius 2000, nr 171 & 172/360 for Källemo Sweden’, height 73 cm, seat height c. 40 cm.

(d)

Estimate: SEK 40 000 – 50 000 / EUR 3 760 – 4 700

26. Mats Theselius (Sweden, 1956–), an easy chair, ‘The Bamboo King’, ed. 260/360, Källemo, Sweden, post 2000.

Base in black lacquered tubular steel, armrests wound with bamboo, seat and back upholstered and covered in black and grey textile, marked to the back ‘The Bamboo King by Mats Theselius 2000, nr 260/360 for Källemo Sweden’, height 73 cm, seat height 40 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

27. A pair of postmodern easy chairs, Germany, 1980–90s. Steel plate, tubular steel base on brass feet, black leather seat, height 85 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

28. William Brand & Annet van Egmond, a black metal ‘Kelp’ ceiling lamp, Brand Van Egmond, 21st century.

Black lacquered metal, ten light sockets in chrome plated metal, maker’s mark, diameter 100 cm, height 85 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

29. A set of two postmodern chairs, signed Lebe & Rast, ‘Trigonus X & Y Nr 1’.

Lacquered wood, polychrome painted details, signed ‘Lebe & Rast, Trigonus X Nr 1 & Y Nr 1’, seat height 46.5 cm, height 93 cm.

Provenance: Siwert Bergström, Galleri GKM, Malmö.

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

30. Peter Maly (Germany, 1936– 2006), a pair of easy chairs, ‘Circo’, COR Germany, post 1998.

Matte steel base, leather seat, the back with braided girths, maker’s mark ‘COR’, height 75 cm.

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

31. Studio Tetrarch (Italy), a pair of wall lamps, ‘Pistillo’, Valenti Luce, Italy, post 1969.

Arms in chrome plated plastic, one lightsocket, maker’s mark, PISTILLO Dep.

Design Studio Tretrach, Made in Italy, diameter 63 cm, height 32 cm.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

32. Javier Mariscal (Spain, 1950–), a, ‘Garriris / Mickey Mouse Chair’, AKABA, post 1988.

Chrome plated metal, black leather, seat height 45 cm, height 97 cm.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

33. Gaetano Pesce (Italy, 1939–), a ‘Feltri Chair’ easy chair, Cassina, post 1986.

Wool felt and polyester resin, detachable yellow fabric upholstry, seat height 43 cm, adjustable height, total height 135 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

34. Mario Bellini (Italy, 1935–), a ‘Camaleonda’ sofa, B&B Italia, c. 2020.

modules (one with armrest), upholstered in a brown fabric ‘Licata Cat Lusso: 2165375’ from B&B Italia, buttons, wooden feet, maker’s mark ‘B&B Italia’, height

68 cm, 96

cm.

35. Olle Bærtling (Sweden, 1911–1981), a carpet, ‘Arci’, tufted, Baertling/Asplund, c. 195.5 x 101 cm.

Made for Asplund Carpets in collaboration with the Baertling Foundation after a painting by Olle Baertling. Hans tufted in India. ‘Arci’ was made in two copies. Two sewn on labels at the back.

36. Åke Axelsson (Sweden, 1932–), & KG Nilsson, a chair, ed 1/2. executed in 1982.

Seat and back in birch veneer, base in beech wood, painted with geometrical figures, signed ‘Åke Axelsson gjorde stolen 1982 KG Nilsson målade den’, seat height 43 cm, height 81 cm.

Monica Boman, author and also Editor in Chief at Svensk Form Magazine.

Compare, Eklund, Petter, Den hållbara formen: Åke Axelsson, Carlsson bokförlag, Stockholm,

38. Mats Theselius (Sweden, 1956–), an ‘Atlantic’ easy chair, Källemo, Sweden, post 2005.

White lacquered metal base, oak armrests, leather seat, maker’s mark ‘Källemo by Mats Theselius Made in Sweden’, seat height 38 cm, height 70 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

37. Mats Theselius (Sweden, 1956–), an ‘Aluminium chair’, ed. 59/200, Källemo, Sweden, post 1990.

Matte polished aluminium, beech and fretted leather, label marked ‘ALUMINIUMFÅTÖLJ No 59/200 MATS THESELIUS 1990 KÄLLEMO AB’, height 74 cm. (d)

Estimate: SEK 60

80

EUR 5

39. Eje Ahlgren (Sweden), a pair of table lamps, model ‘B–075’, Bergboms, Sweden, 1960–70s. Brass, adjustable shade, maker’s mark Bergboms B–075, height c. 52 cm.

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

40. Anders Pehrson (Sweden, 1912–1982), two ‘Bumling Junior’, floor lamps, model ‘G–639’, ateljé Lyktan, Sweden, 1970–80s.

Brass, maker’s mark ‘Ateljé Lyktan Åhus’, height 120.

Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130

40A. Anders Pehrson (Sweden, 1912–1982), a ‘Knubbling Special’, ceiling lamp, executed in a limited edition of ca 10 exemples, ateljé Lyktan, 1970s.

Shade of seashells, maker’s mark ateljé Lyktan, height of the shade 14 cm, total height ca 40 cm, diameter ca 25 cm.

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

41. Mats Theselius (Sweden, 1956–), an ‘El Dorado’ easy chair, ed. 64/360, Källemo, Sweden, post 2002.

Brass, natural brown leather, birch, label marked ‘EL DORADO by Mats Theselius 2002 No 64/360 KÄLLEMO AB SWEDEN’, height 78 cm, seat height c. 47 cm, width 65 cm. (d)

Estimate: SEK 75 000 – 100 000 / EUR 7 050 – 9 390

42. Ernst Billgren (Sweden, 1957–), a bench, ed. 35/51, Sweden 2006.

Oak, details

Ernst Billgren ed.

Provenance:

Bohman,

43. Mats Theselius (Sweden, 1956–), an ‘Älgskinnsfåtöljen’, easy chair, ed.

Iron plate,

marked

Estimate:

for Källemo, Sweden, post 1991.

MATS THESELIUS

44. John Kandell (Sweden, 1925–1991), a ‘Gestalten’ cabinet, ed. 32/100, Källemo, Sweden, post 1989. Mahogany, stamped and numbered ‘JK 32/100’, height 202 cm, width

Estimate:

45. John Kandell (Sweden, 1925–1991), a ‘Solitär’ cabinet, Källemo, Sweden, post 1981.

Raw mahogany, interior with adjustable shelves, maker’s mark ‘JK’, height 203 cm, width 21 cm, depth 28 cm.

Provenance: Siwert Bergström, Galleri GKM, Malmö.

Estimate:

46. John Kandell (Sweden, 1925–1991), a patinated bronze ‘Solitär’ chair, ed. 4/7, Källemo, Sweden. Maker’s marks ‘BRODALENS METALL GNOSJÖ – SWEDEN, JK 4/7 K’, height 88.5 cm, seat height 44.5 cm, width (the back) 59 cm, depth 44.5 cm. The chair Solitär was the first chair designed by John Kandell for Källemo in 1985. The model was shown at the Stockholm furniture fair in 1986 and was then much debated and called ‘the most idiosyncratic chair of the year’. It was executed in mahogany and later in birch with leather seat. Borås city later ordered a chair in patinated bronze. According to Källemo this is one of only three chairs executed. Further more one chair is in the Källemo collection.

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

Estimate:

47. Lars Englund (Sweden, 1933–), a stool, Skelder AB, Sweden, 1990s.

Wooden seat, black lacquered metal base, maker’s mark ‘Skelder’, diameter

cm, height

cm. (d)

Estimate:

48. Italian designer, a floor lamp, 1970–1980s.

The leg with rattan and brass, a spherical glass shade under a top shade of fans joined together, height c. 158 cm.

Estimate:

49. Fernando & Humberto Campana (Brazil, 1953–), a signed and dated ‘Favela chair’, Edra, Italy, 2003.

Produced by using strips of pine, signed ‘Fernando & Humberto Campana Nov 2003’, height 77 cm, width 65 cm, seat height 45 cm.

Provenance: Asplund, Stockholm, signed by the artists in the store 2003.

Estimate:

50. An Italian terazzo low table, 1980s.

Red/brown terazzo with seashells, brass and blue glass details, base in steel on four wheels, height c. 40 cm, 99 x 99 cm.

Provenance: KC Inredningar (now Input), Växjö, Sweden 1987.

Estimate: SEK 6 000

8 000 / EUR 570

51. Patricia Urquiola (Spain, 1961–), ‘Biknit’, chaise longue, Moroso, post 2011.

Oak base, seat braided in a black and grey textile, seat height 26 cm, height 84 cm, length c. 140 cm.

Estimate: SEK 25 000

30

EUR

52. Patricia Urquiola (Spain, 1961–), ‘Biknit’, chaise longue, Moroso, post 2011.

Oak base, seat braided in a black and grey textile, seat height 26 cm, height 84 cm, length c. 140 cm.

Estimate: SEK 25 000

30

EUR

53. Hans–Agne Jakobsson (Sweden, 1919– 2009), a ‘G 110’ floor lamp, Hans–Agne Jakobsson AB, Markaryd, Sweden, 1960–70s.

Brass, textile fringes, maker’s mark ‘Hans Agne Jakobsson G110’, height 139 cm.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

54. Gillis Lundgren (Sweden, 1929–2016), a pair of ‘Sirius’ swivel base easy chairs, IKEA, Sweden, 1970s.

Glass fiber reinforced polyester, swivel base in chrome plated metal, seat and back upholstered in green corduroy, seat height c. 30 cm, height 53 cm.

Literature: Siesing, Andreas, Svenska 70–talsmöbler: i plast, stål, furu och manchester 1969–1980, Lindelöws bokförlag, Gothenburg, 2021, p. 85.

Pictured in the IKEA catalogue 1971.

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

54A. Gunnar Kanevad (Sweden 1930–2019) , a wall mirror, Linköping, Sweden, 1987s.

Acid stained pine, details in various wood types, jigsaw sculptured modules, signed Kanevad 1987, height 120 cm, width 60 cm.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

55. Yrjö Kukkapuro (Finland, 1933–), a pair of ‘Remmi’ easy chairs, Avarte, Finland, 1960–70s. Provenance Yrjö Kukkapuro.

White lacquered tubular steel, white leather seat, seat height 40 cm, height 60 cm.

Provenance: Yrjö Kukkapuro

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

56. Yrjö Kukkapuro (Finland, 1933–), a ‘416 A chair’ ‘Junior’, Haimi, Finland, 1975. Provenance Yrjö Kukkapuro and signed by him.

Glassfiber reinforced swivel base, black leather seat, signed ‘Yrjö Kukkapuro’, seat height 45 cm, height 87 cm.

Provenance: Yrjö Kukkapuro. He signed this chair for his retrospective exhibition in 2008.

Exhibitions: Yrjö Kukkapuro Retrospective, Design Museum Helsinki 2008.

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

57. Ilkka Suppanen (Finland, 1968–), a ‘Game Shelf’, Snowcrash, 1999. Provenance Yrjö Kukkapuro.

Aluminium, height 36 cm, length 148 cm, depth 35 cm.

Provenance: From the private collection of Ilkka Suppanen. Later in the collection of Yrjö Kukkapuro.

Exhibitions: The shelf was shown at Design Week Milano 1999 and at the exhibition ‘Snowcrash’, Nationalmuseum, Sweden, 2021–2022.

Literature: Kjellin, Gustaf, Snowcrash 1997–2003, Arvinius + Orfeus, Stockholm, 2021.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

58. Olle Andersson (Sweden, 1939–), a candlestick, ‘En lumen’, 2+Design, Sweden post 1991.

Birch, partly painted in blue, candle holder in steel, copper plate, signed ‘Olle Andersson’, height 65 cm.

Literature: Stensman, Mailis, Olle Anderson: formgivare, Arena, Stockholm, 1999, p. 123.

Estimate: SEK 3

58A. Karin Björquist, (Sweden, 1939–), a 48 pieces ‘Nobel’ bone china dinner service, Rörstrand post 1991.

White glazed with gold decor, stamped Rörstrand NOBEL DESIGN KARIN

BJÖRQUIST BONE CHINA and most pieces also 1,2, 3 or 4.

8 large plates (diam 31.3 cm)

8 side dishes (diam 17.7 cm, also marked CA in grey, one not first quality)

8 dinner plates (diam 25.7 cm)

8 soup plates (diam 22 cm, one not first quality)

7 coffee cups with saucers (one extra saucer with chipped base rim comes with the service)

8 teacups (saucers are missing).

1 salt cellar

Estimate: SEK 15 000 – 18 000 / EUR 1 410 – 1 690

59. Gunnar Cyrén (Sweden, 1931–2013), a 46 pieces ‘Kolonn’ glass service, Orrefors, Sweden, post 1964.

Comprising: 12 wine glasses (height 17 cm)

12 champagne cups (height 14 cm)

11 wine glasses (height 12 cm)

6 shot glasses (height 18 cm)

5 whiskey glasses (7.5 cm)

Whiskey glasses with etched maker’s marks.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

60. Mats Theselius (Sweden, 1956–), a ‘Star’ easy chair, ed. 98/360, Källemo, Sweden, post 2009.

Chrome plated steel base, covered in artificial mother of pearl, seat upholstered in white nubuck leather, marked with label ‘STAR Mats Theselius 2009 KÄLLEMO AB 98/360’, height 81 cm, seat height ca 43 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

61. Erik Höglund (Sweden, 1932– 1998), a sixteen light chandelier, Boda, Sweden.

Iron and mould blown clear glass, maker’s mark ‘Boda Smide’. Height without links c. 163 cm, diameter c. 54 cm, 2+4 extra iron links à 17 and 34 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

62. Erik Höglund (Sweden, 1932– 1998), a unique glass sculpture, Strömbergshyttan, Sweden, 1988.

Pink glass with blue decor, heart shaped sculpture mounted to an octagonal granite base, engraved signature ‘Erik Höglund 1988 EH Sg Strömbergshyttan 1988 Unik LP – Mg – Hg’. Total height c. 50 cm, the glass sculpture height c. 30 cm, width c. 32 cm, depth c. 17 cm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

63. Erik Höglund (Sweden, 1932– 1998), a glass sculpture, signed and dated 1988.

Two pieces, tripod with a head, different coloured glass with applied details, signed ‘Erik Höglund 1988’, total height 36.5 cm.

Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130

64. Verner Panton (Denmark, 1926–1998), a ‘Flower Pot’, ceiling lamp, Louis Poulsen, Denmark, 1970s.

Enamelled metal in red and orange, maker’s mark, diameter 49.5 cm, height c. 35 cm.

Provenance: Siwert Bergström, Galleri GKM, Malmö.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

65. Verner Panton (Denmark, 1926–1998), a machine made pile carpet, ‘Wave’, diameter c. 243 cm, Unika Vaev, Denmark. Mira–Romantica, the 1960s. With a wave pattern. Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130

66. Arne Jacobsen (Denmark, 1902– 1971), a ‘Prepop’ dining set, Asko, Finland, 1960–70s.

White lacquered plywood, loose blue wool seats, height of the table 70 cm, diameter 130 cm, seat height 42 cm, height of chair 66 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

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

Oval marble table top, white lacquered base, maker’s mark ‘Knoll Studio Eero Saarinen 1956’, height 73 cm, width 136 cm, length 245 cm.

Provenance: Acquired in 2014.

Estimate: SEK 40 000

EUR

68. Poul Kjaerholm (Denmark, 1929–1980), a set of six ‘PK–9’ chairs, Fritz Hansen, Denmark, 2006.

Light brown leather upholstery, tripod base of matte polished steel, maker’s mark, seat height 45 cm, height 78 cm.

Estimate: SEK 75 000

100 000

EUR 7 050

9

69. Jørgen Høvelskov (Denmark, 1935– 2005), an ash ‘Harp Chair’, Denmark, post 1963.

Seat and back of flag halyard, height 74.2 cm, width c. 104 cm, depth c. 116 cm.

Estimate: SEK 15 000

20 000

EUR

70. Marc Newson (Australia, 1963–), an ‘MN’, bicycle, Biomega, Denmark, post 1998.

Aluminium frame lacquered in cream white, maker’s mark ‘Biomega’ and ‘Marc Newson’, 26 inch tires.

Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130

71. Peter Qvist Lorentsen (Denmark, 1976–), a ‘Peak’ easy chair, his own workshop, Denmark, 21st century.

Birch plywood, covered in laminate, seat height c. 45 cm, height 115 cm.

Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130

72. Robert Mallet–Stevens (France, 1886–1945), a set of eight chairs, model ‘222’, edition Andrée Putman, Ecart Paris, 1980s.

Base in tubular steel, enamelled in a grey finish, marked ‘Made in France’, seat height 45 cm, height 82 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

73. Poul Kjaerholm (Denmark, 1929–1980), a

daybed, edition Fritz Hansen, Denmark,

Black

Estimate:

74. Paolo Pallucco (Italy, 1950 –), a pair of easy chairs for Gambe–Pallucco, Italy, 1980s.

Assymetrical seat upholstered in red wool fabric,

of steel,

Estimate:

75. Rodolfo Dordoni (Italy, 1954–), a ‘Manto’ glass vase, Venini, Murano, Italy, 2001.

Coral red, white, black and clear glass

label

height

cm, diameter

decor, signed

Estimate:

76. Olle Bærtling (Sweden, 1911–1981), a carpet, ‘Erey’, hand tufted, ca 201 x 101 cm, Baertling/Asplund.

A design in green, red and black by Olle Baertling. The carpet is produced by Asplund in collaboration with the Baertling foundation after a painting. It is tufted in India around 1999.

‘Erey’ is produced in 50 copies. A label at the back.

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

Glassfiber reinforced plastic seat covered in orange wool textile, base in black lacquered wood and steel, seat height 34 cm, height 79 cm.

Exhibitions: A similar chair exhibited at the Exposition Brussels in 1958.

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

78. Michel Ducaroy (France, 1925– 2009), a ‘Togo’ sofa, easy chair and stool Ligne Roset, 21st century.

Three sections, upholstered in a light grey alcantara fabric, maker’s mark, the sofa 170 x 100 x 70 cm, the easy chair 80 x 100 x 70 cm and the ottoman 80 x 80 x 30 cm.

Estimate: SEK 40 000 – 50 000 / EUR 3 760 – 4 700

77. Miroslav Navratil (Czech Republic), a pair of easy chairs, Cesky Nabytek, Czechoslovakia, post 1959.

80. Mats Theselius (Sweden, 1956–), an ‘El Rey’ armchair, ed. 35/360, Källemo, Sweden, post 1999.

Brass and black leather, signed ‘el Rey by Mats Theselius 1999 Nr: 35/360 copies for Källemo, Sweden’, seat height 31–36 cm. (d)

Estimate: SEK 75 000 – 100 000 / EUR 7 050 – 9 390

79. Mats Theselius (Sweden, 1956–), an ‘El Rey’ armchair, ed. 75/360, Källemo, Sweden, post 1999.

Brass and black leather, signed ‘el Rey by Mats Theselius 1999 Nr: 75/360 copies for Källemo, Sweden’, seat height 31–36 cm. (d)

Estimate: SEK 75 000 – 100 000 / EUR 7 050 – 9 390

81. Meret Oppenheim (Germany, 1913–1985), a ‘Traccia table’, Simon Gavina Edition.

Legs in casted bronze, guilded wooden top with bird feet traces in relief, height 64 cm, width 53 cm, length 68 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

82. Javier Mariscal (Spain, 1950 –), A set of three bar stools, ‘Duplex’, BD Barcelona, 1980s.

Base in tubular steel, partly chrome plated and each stool lacquered with a yellow, red and blue leg, black leather seat, height c. 82 cm.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

83. Jakob Timpe (Germany, 1967–), a ‘Camp’ floor lamp, Marset Iluminación, Spain, post 2004.

Plastic, dimmer, adjustable shade, maker’s mark ‘Camp Jakob Timpe’, height c. 145–185 cm.

Provenance: Siwert Bergström, Galleri GKM, Malmö.

Estimate: SEK 5 000 – 6 000 / EUR 470 – 570

84. Hilma af Klint (Sweden, 1862– 1944), a carpet, ‘Group V, no 2, Series WUS, Seven Pointed Star’, numbered 11/30, hand tufted, c. 195 x 160 cm.

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

Estimate: SEK 18 000 – 20 000 / EUR 1 690 – 1 880

85. Vladimir Kagan (USA, 1927– 2016), ‘Omnibus 1’, a modular sofa in 5 parts, Vladimir Kagan Designs INC, USA, 1970–80s.

Brown original upholstery in 20% cotton, 20% Dacron, 30% Polyester, 30% rubberized hair, perspex feet, maker’s mark Made by Vladimir Kagan Designs INC. 21–24 41st Ave Long Island City N.Y. 11101. Corner sofa comprising 3 parts, seat height 43 cm, height 70 cm, total length ca 240 cm x 240 cm. The chaise longue seat height 43 cm, height 69–95 cm, length 181 cm, width 83 cm. The ottoman, seat height 43 cm, 83x 83 cm.

Estimate: SEK 50 000

75 000 / EUR 4 700

050

86. Charles and Ray Eames (USA, 1907–1978), an ‘ESU – Eames Storage Unit’ shelf, Vitra, 2015.

The frame in powder–coated metal and aluminium, shelves in maple plywood with a birch veneer surface, back and sides in lacquered metal, maker’s mark ‘Vitra 2015’, height 148.5 cm, depth 41 cm, length 179 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

87. Charles and Ray Eames (USA, 1907–1978), a ‘Lounge Chair’ for Vitra, 21st century.

Walnut, white coloured leather, base in chrome plated metal, maker’s mark Vitra, height 87 cm, seat height 40 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

88. Mats Theselius (Sweden, 1956–), an ‘Inox’ armchair, ed. 33/199, for Källemo, Sweden post 2015.

Polished steel, white soaped oak and white nubuck leather, maker’s mark ‘Aluminium chair 25th Anniversary Inox no 33/199 Mats Theselius Källemo 2015’,

89. Mats Theselius (Sweden, 1956–), an ‘Inox’ armchair, ed. 160/199, for Källemo, Sweden, post 2015.

Polished steel, white soaped oak and white nubuck leather, maker’s mark ‘Aluminium chair 25th Anniversary Inox no 160/199 Mats Theselius Källemo 2015’, height 72.5 cm.

Estimate:

90. Thomas Sandell (Sweden, 1964–), ‘Bröllopsskåp’, a wall cabinet, ed. 188/200, Asplund, Stockholm, Sweden, post 1990. Black stained oak, led door, signed ‘Bröllopsskåp Thomas Sandell’ and numbered 188/200, height 58 cm, width 20 cm, depth 24 cm.

Estimate:

90A. Eero Aarnio (Finland, 1932–), a ‘Ball chair’, Asko International, 1960–70s.

White fibreglass, black leather upholstery, aluminium base, internal speakers, height ca 125 cm, seat height 43 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

90B. Ernst Billgren (Seden, 1957–), a glass sculpture, ‘Winter Coffie large’, Berengo studio, Italy, ed. 3/6.

White and black glass, signed ERNST BILLGREN 3/6. Height c. 57,5 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

91. Fredrik Wretman (Sweden, 1953–), a table, part of the installation ‘And so it goes’, ed. 14, Källemo, Sweden, post 1992.

shape

Swedish

table, height

cm,

92. Fredrik Wretman (Sweden, 1953–), an armchair, part of the installation ‘And so it goes’, ed. 14, Källemo, Sweden, post 1992.

Nickel plated, casted aluminium in the shape of a Swedish rococo armchair, seat height

cm, height

cm.

93. Sigurdur Gustafsson (Iceland, 1962–), an easy chair/sculpture, ‘Wind’, ed. 25/33, Källemo, Sweden, post 2003.

Patinated metal, seat made in a

metal

maker’s mark ‘Wind by Sigurdur Gustavsson 2003

Sweden’, height 67 cm, width 67 cm, length

cm.

25/33 Källemo

94. Folkform (Sweden, 2005–), ‘Candle Collage’, candle holder, ed. 20/25, Studio Folkform, 2010.

Sand casted bronze, marked ‘FOLKFORM 20/25’, height 16 cm, length 34 cm, width 10.5 cm.

Exhibitions: Vandalorum, ‘Produktionsnoveller’, 2019–2020. Form och Design Center, Malmö, ‘Produktionsnoveller’ 2020. Rian, Falkenberg, ‘Produktionsnoveller’ 2020. (d)

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

95. Fredrik Nielsen (Sweden, 1977–), a glass sculpture, ‘Purple Pitcher’, The Glass Factory, Boda, Sweden, 2009.

Blown glass with vintage canes used by Monica Backström, lacquered in purple by Frittes car paint in Lidingö Stockholm, signed Fredrik Nielsen – 2009, TGF (The Glass Factory) (assistent Chris Ramsey) Frittes Billack (Lidingö), height 53 cm.

Exhibitions: De/Constructing The Norm, Wetterling Gallery, Stockholm 2011. Galleri S12, Bergen, Norge, 2014. Glass is tomorrow, Nationalmuseum, Stockholm, 2015. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 880 – 2 820

96. Gustaf Nordenskiöld (Sweden, 1966–), a sculpture/object, his own studio, 2016.

Glass and leather, signed ‘Gustaf Nordenskiöld 2016’, the length of the glass objects c. 40 and 68 cm, total height c. 85 cm. (d)

Estimate: SEK 15 000 – 18 000 / EUR 1 410 – 1 690

97. Hanna Hansdotter (Sweden, 1984–), a ‘Stucco Print’ glass sculpture, The Glass Factory, ed. 6/13, Boda Glassworks, Sweden, 2019.

Mould blown, mirrored glass in ‘lime metallic’, signed ‘Hanna Hansdotter 2019 6/13’, height c. 33 cm. (d)

Estimate:

98. Åsa Jungnelius (Sweden, 1975–), a ‘Make Up’ glass sculpture, Kosta Boda, Sweden, 2009.

Black glass with gold and soft pink lipstick, signed ‘Åsa Jungnelius, 2009’, height 55.2 cm. (d)

Estimate:

99. Åsa Jungnelius (Sweden, 1975–), a ‘Make Up’ glass sculpture, ed. 3/20, Kosta Boda, Sweden. Black and gold coloured glass, the bottle in pink and rose metallic, signed ‘7388004 Kosta Boda lim. ed. 3/20 Åsa Jungnelius’, height 44.5 cm. (d)

Estimate:

100. Olle Bærtling (Sweden, 1911–1981), a carpet, ‘Yoy’, hand tufted, c. 199 x 101 cm, Baertling/Asplund.

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

Estimate: SEK 12 000

15 000 /

1

101. Mårten Medbo (Sweden, 1964–), two ceramic wall sconces, his own studio, Sweden, 1993.

Purple glazed ceramic with green and red foiled glass, signed ‘MÅRTEN MEDBO –93’, height 35.5 cm. (d)

Estimate:

101A. Haidar Mahdi, (Sweden, 1986–), a unique ’Gytter’, sculpture, nr 16 in an edition of 30 unique works for SAK (Sveriges Allmänna Konstförening) 2019.

Polycrome glazed stoneware, signed H.M 16/30 SAK 2019, height ca 20 cm.

Literature: The complete edition pictured in the SAK paper, 2019. (d)

Estimate: SEK 4 000

000

101B. Dan Henriksson (Sverige 1967), ’Safety not guarenteed 1’, a unique sculpture, his own studio Hammarö Keramik, Sweden 2015.

Polycome glaced stoneware, decorated with leaves, flowers, snake and a sitting figure, marked with a paper label Dan Henriksson Katalognr: 78 titel Safety not guarenteed 1’, Vårsalongen 2015, Liljevalchs, height ca 23,5 cm. (d)

Estimate:

103. Jonas Rooth (Sweden, 1961–), a chandelier for five candles, Kivik, Sweden, 2003.

Polychrome, blown glass, five arms for candles, decorated with glass flowers, leaves and birds, signed ‘Jonas Rooth 2003’, height c. 73 cm, diameter c. 75 cm.

Estimate: SEK 20 000 – 30 000 / EUR 1 880 – 2 820

104. Jens Fager (Sweden, 1979–), a unique ‘Vico’ chair, from the series ‘Assises’ executed for Gallery Pascale, Sweden, 2013.

Red lacquered steel, seat with leather upholstery from Tärnsjö, height 76 cm. Exhibitions: The Hallwyl museum in collaboration with Gallery Pascale, Stockholm 2013.

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

105. Erik Olovsson (Sweden), a low table, ‘Spine’, Studio E.O., his own studio, 2020.

Base in red, anodized aluminium, top in red polyester resin, height 48 cm, length 180 cm, width 70 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

106. A carpet, ‘Océjan’, tufted (in relief), Kasthall, Sweden, c.

Designed

Estimate:

cm, signed ‘JM 83’.

107. Börge Lindau & Bo Lindekrantz (Sweden), a pair of coat hangers, ‘Fälltavla’, Lammhults, post 1972.

White and red lacquered wood,

interior,

Estimate:

108. Börge Lindau (Sweden, 1932– 1999), an armchair, ‘Suellen–Masur’, ed. 1/3 prototype, Blå Station, Sweden, 1990.

Base in iron with brass handles, beech wood veneer and leather seat, burled wood back, signed ‘Prototyp Suellen–Masur 1/3

90

label ‘Börge Lindau Blå Station Åhus 044–249070’, seat height

BLÅ’ and a

Estimate:

109. Rolf Hanson (Sweden, 1953–), a bench, ed. 1/8, Källemo, Sweden, c. 1994.

White stained oak, legs with wooden inlays, seat in black leather, signed Rollf Hanson 1/8, height 44 cm, width 55 cm, length 188 cm.

This model was designed for the entrance at the Moderna Museet in Stockholm for its temporary location at ‘Spårvägshallarna’ (the Tram Halls) between 1994–97. The first four benches were produced for this location and this actual bench is one of these four. They were made by Källemo. Another set of four benches were made by another producer.

Rolf Hansson later used the benches at the exhibition ‘Rolf Hanson Malerei/ Painting’ in Düsseldorf in 1998.

There were four more benches produced for the exhibition at Artipelag ‘Retroactive’, Stockholm in 2021. Upholstered in black, dark green and dark brown leather for this occasion.

Estimate:

109A. Morten Stenbæk (Denmark, 1973–), a ‘Whale Chair’, No. 17, his own studio, Denmark, 2018. Walnut, stamped signature MS MS82 No 17 20–2–2018, height 67 cm, seat height 42 cm.

(d)

Estimate:

110. Niklas Runesson (Sweden, 1985–), a unique easy chair, executed in his own studio in 2021.

American walnut, cow hide seat, signed ‘NR 2021’, seat height 34 cm, height 70 cm.

Niklas Runesson (b. 1985) is a self–taught artisan and 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 working measurements for chairs, etc. in his head and he does the rest according to feeling.

Much of Runesson’s inspiration comes from nature but also fragments of the unknown and fantasies. A mantra that often comes back when he wants to explain the feeling is ‘friendly creature’, a recurring theme.

Estimate: SEK

111. Niklas Runesson (Sweden, 1985–), a unique low table, executed in his own studio in 2021.

American walnut, asymetrical top, rectangular legs, signed ‘NR 2021–04–10’, height 38 cm, the top c. 80 x 60 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

112. Attila Suta (Sweden, 1976–), a pair of chest of drawers, his own workshop, Stockholm, Sweden, 2021.

The front with relief, wenge and black stained ash, drawers in ash, marked ‘Attila Suta Kunglig Hovleverantör’, height 80 cm, width 90 cm, depth 40 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

113. Mats Theselius (Sweden, 1956–), an easy chair, ‘Theselius Trä’, Källemo, Sweden, 21st century.

Black stained ash and beech wood, black leather seat, chrome plated steel feet, maker’s mark ‘Källemo by Mats Theselius Made in Sweden’, seat height 48 cm, height 75 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

Andersson,

LARS WETTERLING COLLECTION

Lars Wetterling’s love for art evoke at an early age when he visited a neighbor whose home was filled with art and beautiful furniture. He particularly remembers one painting that touched his heart without him being able to explain why. This experience opened a door to the world of art.

In the early 1960s, together with his wife Margareta, he became a member of The Friends of the Art Museum, where he came to play an important role with his knowledge and his connections in Norrköping. Lars worked closely with the museum directors Gösta Lilja and Bo Sylvan and contributed to many art acquisitions by major Swedish artists. The Friends of the Art Museum was an active art association which arranged art viewings, lectures and art trips. Eventually a subgroup was formed with the name The Art Club with Lars as chairman and the one who was in contact with the artists regarding acquisitions both for the members of the club and for the museum. Lars developed a role as an ambassador for modern Swedish art.

When Nils–Åke Nordh, a friend and colleague of Lars, together with three friends formed Linköping Graphic Society at the end of the 1960s, Lars was appointed chairman for several years. The purpose of the association was to acquire art directly from the artists without any intermediaries. Also, in this society Lars handled the acquisitions and became close friend with many of the artists he met, for example Lena Cronqvist and Karin Mamma Andersson. He was also very interested in different artistic expressions and techniques. From Bertil and Ulrika Vallien, Lars learnt a lot about glassmaking and the various practices of glass.

During the years Margareta and Lars’ own house also became full of art and design. The absolute criterion has consistently been to buy only works that have touched them on a personal level, that in some ways have recalled the emotions he experienced in his youth in front of the painting in the neighbor’s home.

Lars Wetterling’s collection range from postwar art until today, from abstract expressionists like Evert Lundquist to contemporary works by Karin Mamma Andersson. His love and passion for art are still strong. In a recent conversation with Lars, he talked about how he is now interested in black–and–white prints and three–dimensional sculptures and how those expressions differ from that of paintings. His curiosity and ability to find works that express and trigger emotions run like a common thread through his extensive collection of art, crafts and design.

117. Lena Cronqvist (Sweden, 1938–), tapestry ‘Adam och Eva I, tapestry weave, c. 123 x 97 cm, signed ‘LC’ and dated 1971.

Mounted on a wooden rod. Provenance: Lars Wetterling Collection. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

118. Jonas Bohlin (Sweden, 1953–), a ‘Slottsbacken’ cabinet, ed. 89/200, 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 89/200 JONAS BOHLIN’, height 210 cm, width 70 cm, depth 37 cm. Provenance: Lars Wetterling Collection. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 740 – 14 090

119. Jonas Bohlin (Sweden, 1953–), a ‘Concrete’ table, Källemo, Sweden.

Glass table top, base of concrete and lacquered steel, height 55.5 cm, length 150 cm, width 80 cm.

Provenance: Lars Wetterling Collection. (d)

Estimate:

120. Gunnel Sahlin (Sweden, 1954–), a unique glass vase in two parts, Kosta Boda, Sweden, 1990s.

The lower part in matte opaque glass, decorated with black, striped overlay, the top in blue and green, signed ‘KOSTA BODA UNIQUE– 91 8305–61 G. Sahlin’, height 47 cm.

Provenance: Lars Wetterling Collection. (d)

Estimate:

122. Gunnar Cyrén (Sweden, 1931–2013), a 47 piece ‘Nobel’, ‘Rainbow’ and ‘Aida’ glass service, Orrefors, Sweden.

Handpainted decor with gilt and polychrome colours. ‘Rainbow’ and ‘devil glasses’ signed ‘GC’ and with different painters’ signatures. ‘Nobel’ comprising: 11 wine glasses (height 18 cm), 6 wine glasses (height 14 cm) 9 shot glasses, ‘devil’s glasses’ (height 16.5 cm)

‘Rainbow’ comprising: 14 wine glasses (height 18.5 cm), ‘Aida’ comprising: 7 wine glasses (19 cm)

Provenance: Lars Wetterling Collection.

Estimate: SEK

121. Gunnel Sahlin (Sweden, 1954–), a unique glass vase in two parts, Kosta Boda, Sweden, 1990s.

Blue and green glass, the lower part decorated with matte blue circles, signed ‘KOSTA BODA UNIQUE 934024 Gunnel Sahlin’, height 48.5 cm.

Provenance: Lars Wetterling Collection. (d)

Estimate: SEK 6 000

8 000 / EUR 570 – 760

123. Ettore Sottsass (Italy, 1917– 2007), a Memphis glass goblet ‘Deneb’, Toso Vetri d’Arte, Italy, 1980s.

Polychrome coloured glass, signed ‘MEMPHIS MADE IN ITALY by TOSO VETRI D’ARTE’, height 21 cm.

Provenance: Lars Wetterling Collection.

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

124. Pedro Miralles (Spain, 1955–1993), a post–modern chest of drawers, ‘Poynton’, the Azimut–series by Artespana, Spain, 1989.

Burled wood veneer on oak, two of the legs in green patinated metal, three drawers with black wooden knob handles, stamped ‘28 2 1989’ and maker’s symbol. 73.5 x 45 cm, height 81 cm.

Pedro Moralles was a Spanish architect and industrial designer but also involved in the film industry. Rafael Mondeo was one of his professors during his architectural studies. In the film business he was associated with Pedro Almodovar.

Provenance: Lars Wetterling Collection.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

125. Gae Aulenti (Italy, 1927– 2012), a pair of ‘Pipistrello’ table lights, Martinelli Luce, Italy, post 1965.

Model ‘620’, black lacquered metal, white plastic shade, adjustable height, diameter c. 54 cm.

Provenance: Lars Wetterling Collection.

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

126. Vico Magistretti (Italy, 1920 – 2006), a dark brown suede two–seated ‘Maralunga’ sofa, Cassina, Italy.

Adjustable back and armrests, length 175 cm, seat height c. 46 cm.

Provenance: Lars Wetterling Collection.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

127. Jonas Bohlin (Sweden, 1953–), a birch and iron ‘Triptyk’ table, Källemo, Sweden, post 1989.

The birch top is resting on the iron bases, marked in the iron, 210 x 70 cm, height 73 cm. An additional tabletop in ash wood is enclosed.

Provenance: Lars Wetterling Collection.

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

128. Gunilla Kihlgren (Sweden, 1960 –), a glass urn/ vase, executed in Stockholm, 1990.

Amber, red and clear glass, signed G. Kihlgren, height 43 cm. This piece formed a part of Gunilla Kihlgren’s master project at Konstfack, Stockholm in 1990.

Provenance: Lars Wetterling Collection. (d)

Estimate: SEK 10 000 – 15 000 / EUR 940 – 1 410

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

Plywood with rosewood veneer, black leather, black and brushed steel base, maker’s mark ‘Herman Miller’, height c. 81 cm, seat height 41 cm.

Provenance: Lars Wetterling Collection.

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

129. Mats Theselius (Sweden, 1956–), an ‘Älgskinnsfåtöljen’ lounge chair, Källemo, ed. 159/360, Sweden post 1991.

Etched sheet iron, beech wood, seat upholstered with elk leather, marked ‘ÄLGSKINNSFÅTÖLJ MATS THESELIUS 1991 159/360 KÄLLEMO SWEDEN’, height 78 cm, seat height c. 47 cm. (d)

Provenance: Lars Wetterling Collection.

Estimate: SEK 60 000 – 80 000 / EUR 5 640 – 7 520

131. 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, marked ‘Herman Miller Collection’, height c. 81 cm, seat height c. 41 cm.

Provenance: Lars Wetterling Collection.

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

132. Per B Sundberg (Sweden, 1964–), a unique glass vase, Orrefors, Sweden, 1997.

White glass, iridescent light green overlay with relief decoration in pink and yellow, signed ‘Per B Sundberg Orrefors 015787 Per Sundberg unique 1997’, height 20 cm.

Exhibitions: The Röhsska Museum, Gothenburg 2004, ‘Greatest Hits 1983–2004’.

Literature: Ed. Kerstin Wickman, Byggförlaget Kultur, 1998. Compare a similar vase p 151. Märta Holkers, ‘Den Svenska Målarkonstens historia’, Bonniers förlag, 2016, compare p 264

Provenance: Lars Wetterling Collection. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

134. Mats Theselius (Sweden, 1956–), an ‘El Dorado’ lounge chair, edition 45/360, Källemo, Sweden, post 2002.

Birch, brass, natural brown leather upholstery, marked with metal label ‘EL DORADO by Mats Theselius 2002 No 45/360 KÄLLEMO AB SWEDEN’, height 78 cm, seat height 47 cm.

Provenance: Lars Wetterling Collection.

(d)

Estimate: SEK 75 000 – 100 000 / EUR 7 050

133. Per B Sundberg (Sweden, 1964–), a unique glass vase, Orrefors, Sweden, 1998.

Pale green, pink and black glass, matte surface, high relief ornaments with horses’ heads and more, signed ‘Per B Sundberg Orrefors 921887

Per Sundberg Unique’, height 21.5 cm.

Provenance: Lars Wetterling Collection.

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

135. Per B Sundberg (Sweden, 1964–), a glass vase, Orrefors, 1999.

A studio work executed in the fabula technique, internal decoration with prints of flowers, fish and windmills, overlay in smoke coloured glass, signed ‘Per B Sundberg –99’, height 23 cm.

Provenance: Lars Wetterling Collection. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

136. Per B Sundberg (Sweden, 1964–), a glass vase, Orrefors, Sweden, 1999.

A studio work executed in the fabulatechnique, internal decoration of dogs, fish, flowers and more, overlay of iridescent smoke coloured glass, signed ‘Per B Sundberg 99’, height 15 cm.

Provenance: Lars Wetterling Collection. (d)

Estimate: SEK 8 000 – 12 000 / EUR 760 – 1 130

137. Mårten Medbo (Sweden, 1964–), a glass ‘Double Vase’, Ajeto, Czech Republic, 2001.

Burgundy red glass with white trumpet shapes, overlay in clear glass, signed ‘MÅRTEN MEDBO 2001’, height 32 cm.

Provenance: Lars Wetterling Collection. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

138. Mats Theselius (Sweden, 1956–), a ‘Järn/Mocca’

lounge chair, ed. 41/360, Källemo, Sweden, post 1994.

Sheet iron, beech wood, marked ‘JÄRN/MOCCAFÅTÖLJEN

Mats Theselius No 41/360 KÄLLEMO AB VÄRNAMO SWEDEN’, height 73 cm.

Provenance: Lars Wetterling Collection.

Estimate:

139. Mats Theselius (Sweden, 1956–), an easy chair, ‘Järn/Moccafåtöljen’, ed. HC 9/18, Källemo, Sweden, post 1994.

Sheet iron, beech wood, marked ‘JÄRN/MOCCAFÅTÖLJEN Mats Theselius No HC 9/18 KÄLLEMO AB VÄRNAMO SWEDEN’, height 73 cm.

Provenance: Lars Wetterling Collection.

Estimate:

140. Love Arbén (Sweden, 1952–), an ‘Ono’ cabinet, No. 9, Lammhults Möbel AB, Sweden, 1992.

Beech plywood, covered in black and white laminate, base in patinated steel, interior with shelves, maker’s mark ‘Lammhults, 1992–09– Lammhults Möbel AB Made in Sweden’, height 135 cm, width 50 cm, depth 50 cm.

The model was designed in 1991. Only about 25 cabinets have been made due to the complicated pattern matching during manufacturing. This Cabinet is No. 9 in the edition.

Provenance: Lars Wetterling Collection

Estimate:

MARIE–LOUISE EKMAN

Marie–Louise Ekman is without doubt one of the most unique contemporary artists in Sweden today. Her stylistic consistency is striking. She has such a distinct visual lan–guage that is unmistakably hers, and an artistic practice that remains timeless and al–ways topical.

Ekman borrows everyday environments and situations and makes them her own. In an experimental fashion she combines the absurd and the surreal in recognisable settings. In the painting, Sovrummet II, she moves unimpeded across boundaries into new worlds and scenes. Her imagery is filled with art historical references mixed with elements of popular culture.

Her artistic practice has been greatly marked by her anarchic and perceptive assault on normality, which can be seen in the scope of her work. It is this that allowed her to be–come part of the circle around the influential underground magazine Puss.

Ekman has a diverse practice in which she likes to return to certain images and contexts. There is hardly a motif or a figure that does not turn up in several other scenes or that one gets acquainted with more than once. At first you encounter them in objects and paintings, then later in films, TV series and radio shows. Even if the medium changes Ekman has kept returning to the same topics and style for several decades now – and as a result her art always seems surprisingly youthful.

145. Marie–Louise Ekman, ‘Sovrummet II’.

141. Börge Lindau (Sweden, 1932–1999), & Bo Lindecrantz, a black ‘Plankan’ chair, Lammhults Möbel AB, Sweden, decorated by Ulrica Hydman Vallien.

Black and chrome plated base, the black lacquered wooden back rest decorated with snakes by Ulrica Hydman Vallien, neck rest–pillow upholstered with black leather, height 106 cm, seat height 42.5 cm.

Provenance: Lars Wetterling Collection.

Estimate: SEK 4 000 – 5 000 / EUR 380 – 470

142. Mats Theselius (Sweden, 1956–), a pair of ‘Ambassad’ easy chairs, Källemo, Sweden, post 1999.

Base of copper, upholstered with black leather, seat height c. 44 cm.

Provenance: Lars Wetterling Collection. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820

143. Rolf Hanson (Sweden, 1953–), an oak and patinated bronze wall cabinet ‘Pica Pica’, ed. 3/ 19 by Källemo, Sweden, post 1998.

The interior with a painting, enclosed is a brass plaque ‘PICA PICA Rolf Hanson No 3/19 KÄLLEMO AB’, height 60 cm, width 39 cm, depth 32 cm.

Exhibitions: Galleri Aronowitsch, Stockholm, ‘Bådhänt’, 2001, May 12th – June 10th, together with Mats Theselius.

Literature: Nordgren, Sune, Personakt Sven Lundh: en bok om Källemos skapare, Arena, Malmö, 2007, p. 128.

Provenance: Lars Wetterling Collection. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

144. Rolf Hanson (Sweden, 1953–), a ‘Pelare’ cabinet, ed. 81/90, for Källemo, Värnamo, Sweden, post 1991.

Green stained alder on a granite base, decorated with painted spots, two doors with green patinated bronze handles, four shelves, signed ‘Rolf Hanson Källemo’ and numbered 81, height 209 cm, width c. 48 cm, depth c. 43 cm.

Provenance: Lars Wetterling Collection.

(d)

Estimate: SEK 20 000 – 30 000 / EUR 1 880 – 2 820

145. Marie–Louise Ekman (Sweden, 1944–), ‘Sovrummet II’.

Signed M.L de Geer Bergenstråhle and dated 1976. Gouache on silk 32 x 60 cm.

Provenance: Galleri Heland, Stockholm. Lars Wetterling Collection.

Exhibitions: Norrköpings Museum, 1976. Kulturhuset, ‘Marie-Louise Ekman – en retrospektiv utställning’ 1998. Moderna Museet, Stockholm, “Marie-Louise Ekman”, 17 June – 17 September 2017. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

146. Patrik Andiné (Sweden, 1968–), Untitled.

Signed Andiné and dated 96. Panel 57 x 61 cm.

Provenance: Lars Wetterling Collection. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

LENA CRONQVIST

Since the 1970s Lena Cronqvist has been one of Sweden’s most celebrated artists. With a unique artistic confidence, sense of intimacy and a tangible sensuality she has portrayed her experiences of growing up, being a mother and of family life. Her childhood continues to be a recurring theme, ex–plored in depth by Cronqvist in both paintings and sculptures.

It was in the 1990s that Cronqvist began to explore sculpture as an art form in earnest and during the last decade she has stood out as one of the most interesting sculptors of our time. The early sculptures of girls, some of which were created during times spent in New York with her writer husband Göran Tunström, were mostly small. In the introduction to the exhibition catalogue from Cronqvist’s 2000 exhibition at Lokstallet in Strömstad, Tunström described those first ‘girls’ as follows:

I remember them against the light in our first cramped apartment in New York, those little lumps of wax. How they – as if she could see with her fingers – transformed beings with their own looks, characters, these small ugly, yet beautiful, figures at the start of life, with a whole catalogue of possible actions in their genes. And they smiled. They smile, stick their tongues out, quaintly put their hands on their hips and do not act appropriately at all. They giggle to themselves and at us. And surely they have Names, even though they have temporarily hidden them, since Names would lock them out of the utopian land where every action – including the cruellest – are allowed, every grimace is a challenge, both against the world and against the ‘I’ that they (i.e. us) are taught to carry when very soon and abruptly it has ended – the Time for being Girls. For being Children.

In later years there has been a development towards larger bronze sculptures, but still with the same imagery of young girls. However, the girls are now different. Those first girls were small, mysterious and radiated strong expressions. The thin girls that people Cronqvist’s universe from 1993–94 onwards, on the other hand, are defiant and inde–pendent, vicious and sometimes mean.

Lena Cronqvist’s sculptures can be found in many public collections; [Hand in Hand], is installed in the park of the Rackstad Museum in Arvika, [Girl in Bath] in Trefaldighetsallén in Norre Katts park, Halmstad, and ut tungan [Girl sticking her tongue out] stands outside the City of Stockholm’s art council. In Karlstad, the birthplace of Cronqvist, Två flickor [Two Girls] Museum. In 2010 Flicka i balja was purchased by the Sven–Harry Art Museum in Stockholm and can now be viewed in the Vasaparken park in Stockholm. A group of six sculptures by Cronqvist, executed in 1998, have been given a temporary home by Slussen in Stockholm. Five of them are placed together on a mobile platform by Ryssgården outside Stadsmuseet (Stockholm City Museum) by Slussen, whilst Flicka med hopprep [Girl with Skipping Rope] has found her own place by the information area at Stadsgården 8.

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

LEON TARASEWICZ

Leon Tarasewicz is a Polish artist with a strong connection to Sweden, having had as many as eight solo shows at Galerie Nordenhake in Stockholm and Berlin. The first one was as long ago as 1986, only two years after Tarasewicz had graduated from Warsaw Academy of Fine Arts. The inspiration for his colourful, abstract paintings comes from nature. The large canvases almost always reflect small details, nuances and structures that he finds in the plants, animals and landscapes close to his current home near Białystok in eastern Poland. The painting in the auction was actually created during a period that Tarasewicz spent in Sweden. Bukowskis has previously sold a similar painting from the same year and it is notable that the artist works by exploring the same subjects in different versions and perspectives. Tarasewicz examines the inherent power of colour and painting. He has

experimented with structures and colour combinations in paintings on canvas as well as in murals and installations.

Tarasewicz has a thriving international career, having represented Poland at the Venice Biennale in 2001 and exhibited in cities such as Berlin, Tel Aviv, Rome and New York. His works are included in all of the most important Polish collections and institutions and he is also represented at Moderna Museet in Stockholm, the Sackler Collection, New York, and in the George Costakis Collection in Athens, to name a few.

148. Leon Tarasewicz, Untitled.

KARIN MAMMA ANDERSSON

Karin Mamma Andersson is one of our most treasured contemporary artists. After having represented Sweden at the Venice Biennale in 2003 and getting her big media breakthrough, her art has been shown in countless prestigious contexts all over the world. She is one of only a handful of Swedish artists with galleries in Stockholm, London and New York. The painting in the auction, 'Vad såg vi?' [What did we see?], was exhibited at Konstens Hus in Luleå, 2001. This is Mamma Andersson’s home town and an environment that is close to her heart. The Swedish northern landscape and light is a constant, recurrent theme in her work. In 2006 she was awarded first prize

by the Carnegie Art Award and the following year she had her first solo show at Moderna Museet in Stockholm, which went on to tour Helsinki and London. With this a strong foundation was laid for the next part of Mamma Andersson’s career. Several of her pieces were recently shown at last year’s celebrated exhibition Humdrum Days at the Louisiana Museum of Modern Art in Denmark.

153. Karin Mamma Andersson, ‘Vad såg vi?’.

147. Lena Cronqvist (Sweden, 1938–).

Signed LC and numbered 2/5. Foundry mark H. Bergman. Executed in 1993–94. Patinated bronze. Height 29 cm.

Provenance: Galleri Lars Bohman, Stockholm. Lars Wetterling Collection.

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

Estimate: SEK 60 000

EUR

640

7 520

148. Leon Tarasewicz (Poland, 1957–), Untitled.

Signed L. Tarasewicz and dated Värnanäs 1985 verso. Canvas 127 x 167 cm

Provenance: Galerie Nordenhake, Stockholm. Lars Wetterling Collection. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 390 – 11 740

149. Olli Lyytikäinen (Finland, 1949–1987), ‘Deep river. Syvä joki’.

Signed Olli Lyyt. and dated 1994. Watercolour on paper 23 x 31 cm.

Provenance: Galleri Engström, Stockholm Lars Wetterling Collection. (d)

Estimate:

151. Rolf Hanson (Sweden, 1953–), ‘Zaukouma’.

Signed Rolf Hanson and dated –89 verso. Oil on panel 83

Lars Wetterling Collection.

150. Bård Breivik (Norway, 1948–2016), ‘Fiber’.

Wall sculpture.

height

width

book ‘Fiber’, Bård Breivik and Jim Bengtson, Åhus : Kalejdoskop,

cm.

152. Lena Cronqvist (Sweden, 1938–), ‘Flicka med katt i balja’.

Signed LC and numbered 3/6. Foundry mark H. Bergman. Executed in 1993–94. Bronze. Height 26, width 40, depth 27cm.

Provenance: Galleri Lars Bohman, Stockholm. Lars Wetterling Collection.

Literature: Galleri Lars Bohman (ed.), ‘Lena Cronqvist – Skulpturer’, 1995, reproduced on cover and on p. 69. Mårten Castenfors et al. ‘Lena Cronqvist’, Sveriges Allmänna Konstförenings årsbok, 2003, illustrated

page p.

OLA BILLGREN

Ola Billgren used painting as his main mode of expression throughout his entire artistic career. He found the imagery for his photorealist paintings of the 1960s and 70s from his contemporary urban everyday, from literature and films, as well as from the illustrated press. His photorealism garnered him a lot of national attention and he went on to represent Sweden in a number of exhibitions, for example the Youth Biennale in Paris in 1967 and 1971, and at the Venice Biennale in 1976.

During the 1970s, however, Billgren came to gradually break off with photorealism, finally abandoning it for an almost abstract colourist oeuvre. In the 1980s this was expressed in a series of ‘romantic landscapes’, and what the artist called ‘cityscapes’. The allusion to impressionistic techniques is

clear, and in particular to Claude Monet’s late paintings of water lilies in Giverny. Just like for Monet, the subject of Billgren’s paintings from this period is mostly varying shades of colour and the shifting effects of light. Ola Billgren is represented at a number of museums including Moderna Museet in Stockholm, Göteborgs konstmuseum, Malmö Museum, Statens Museum for Kunst in Köpenhamn, Museum für Kunst– und Kulturgeschichte in Lübeck, as well as Louisiana Museum of Modern Art in Humlebæck. His work is also included in the collections of Lund University and the painting Paris (1973) is in the collections of the Centre national d’art et de culture Georges–Pompidou in Paris.

155. Ola Billgren, ‘Skånskt landskap, till GN’.

153. Karin Mamma Andersson (Sweden, 1962–), ‘Vad såg vi?’.

Signed Mamma Andersson and dated 2000 verso. Oil on panel 44.8 x 49.8 cm.

Provenance: Galleri 1, Gothenburg. Lars Wetterling Collection.

Exhibitions: Galleri 1, Gothenburg, ‘Mamma Andersson’, 1 February – 18 February 2001. Konstens hus, Luleå, ‘Karin Mamma Andersson’, 2001. (d)

Estimate:

200

18 780

154. Jarl Ingvarsson (Sweden, 1955–), ‘Jordgubbsjimmy’.

Signed JI and dated 95. Also signed Jarl Ingvarsson –95 verso. Canvas 65

81 cm. Provenance:

Wetterling Collection.

Estimate:

155. Ola Billgren (Sweden, 1940–2001), ‘Skånskt landskap, till GN’.

Signed Ola Billgren and dated –89 verso. Oil on canvas 101 x 101.5 cm.

Provenance: Galerie Leger, Malmö. Lars Wetterling Collection.

Exhibitions: Galerie Leger, Malmö, ‘Ola Billgren, Målningar och Collage’, October – November 1989.

Literature: Galerie Leger, Malmö, ‘Ola Billgren, Målningar och Collage’, 1989, illustrated p. 33. (d)

Estimate:

157.

158. Ernst Billgren

156. Takashi Naraha (Sweden, 1930–2019), Untitled.

Partially

Provenance:

KARIN MAMMA ANDERSSON

Karin Mamma Andersson is an artist who makes her own distinct observations. Her gaze finds details that the rest of us could never imagine being the subject of a painting. She treats these details and fragments from everyday life, art history and nature with the utmost respect and gentleness. They are joined together to create maps of interior and exterior landscapes – always in the same restrained and unique colours. Using a palette upon which themes such as childhood, Northern Swedish nature, everyday life and love are laid out, she succeeds in transforming the particular into something universal – a scene for the rest of us to reflect upon. Her style of expression has been praised both nationally and internationally and she is regarded as one of Sweden’s greatest living artists. Following Mamma Andersson’s breakthrough at the Venice Biennale in 2003, she has had critically acclaimed solo shows at Moderna Museet in Stockholm (2007), and at Louisiana Museum of Modern Art in Denmark (2021), amongst other places, as well as regularly showing her work at her galleries in Stockholm, London and New York.

During the 1990s children, and their everyday environment, was a recurrent theme for Mamma Andersson. The paintings ‘Roliga Timmen’ [Funny Lesson] and ‘Klassrum’ [Classroom], as well as the painting in the auction, ‘Skoldans’ [The School Dance], all executed in 2000, are examples of this theme. The three paintings are depicted together in Moderna Museet’s catalogue from 2007, revealing the obvious relationship between the pieces. In Roliga timmen the children are found seated by a round table, the pale tabletop is massive and has colourful spots and traces of the children’s paintings on it. In the work Klassrum the reference seems to be the Swedish photorealist painter Peter Tillberg’s iconic image of a classroom ‘Blir du lönsam, lille vän?’ [Will you be profitable, little friend?] (1971-72). And it does seem like Mamma Andersson’s children, seated at their school desks, will become ‘profitable’, as most of them are eagerly putting their hands up. What Mamma Andersson’s three paintings have in common is the fluid border between inside and outside. The rooms are opened up towards a Northern Swedish landscape, where mountains and lakes glisten on the horizon.

In Skoldans the solid surface of the tabletop appears to have dissolved and, like a gigantic crystal ball, created a portal into the children’s future. Spellbound, they contemplate this parallel world. In the tabletop’s time portal, they perhaps see themselves as teenagers. In a few years they will be different people, with different proportions. Then it will be their turn to be standing around at school dances in community halls with butterflies in their stomachs and sweaty palms.

Confused, the children observe the new rituals of adult life. One of them looks like she wants to leap in and change what is happening, to move around the dancing couples on the dance floor like puppets on a string. The child is anxiously extending her hands out towards them.

In the same way that Anders Zorn, in perhaps his most famous painting Midsommardans [Midsummer Dance], tried to recreate the Swedish spirit of his time, with these three paintings Mamma Andersson is probably trying to capture the essence of the Swedish welfare society, ‘folkhemmet’, and her own childhood growing up in the northern town of Luleå.

159. Karin Mamma Andersson, ‘Skoldans’.

159. Karin Mamma Andersson (Sweden, 1962–), ‘Skoldans’.

Signed Karin Mamma Andersson and dated 2000 verso. Oil on panel 80.5 x 122.5 cm.

Provenance: Galleri Magnus Karlsson, Stockholm. Lars Wetterling Collection.

Exhibitions: Konstens hus, Luleå, ‘Karin Mamma Andersson’, 24 February – 25 March 2001. Konstforum, Norrköping, 2002.

Literature: Ann–Sofi Noring (ed.), ‘Mamma Andersson’, 2007, illustrated.

Estimate:

160. Patrik Andiné (Sweden, 1968–), ‘Schäslong’.

Signed and dated 2008 verso. Canvas 21.5 x 26 cm. Provenance: Lars Wetterling Collection.

Estimate:

161. Rolf Hanson (Sweden, 1953–), ‘Ombounba’.

Signed Rolf Hanson and dated 1990 verso. Oil on panel 148 x 125 cm. Provenance: Lars Wetterling Collection.

Exhibitions: Traveling exhibition, Japan ‘Contemporary Swedish Art’, 1992. Rooseum, Malmö, ‘Rolf Hanson’, 1995. Literature: Lars Nittve, ‘Rolf Hanson’, Rooseum 1995, pp 39. Gula sidorna, Gothenburg, 1992, catalogue cover. (d)

Estimate:

MARILYN MINTER

Marilyn Minter’s long career includes painting, photography as well as video and has often stirred up intense debate. Ever since Minter photographed her mother at home in Ft. Lauderdale in the 1960s, in the series Coral Ridge Towers, a slightly dirty glamour has been her focus. Minter uses traditional techniques and materials. She does not crop or manipulate her photographs digitally. Her extreme, large–scale close–ups of bodies covered in sweat, dirt, make–up, jewellery or soap bubbles show details that sometimes push the images into the abstract. Her photography also reflects the way the media influences our perception of gender, sexuality and desire, whilst simultaneously bringing to light the distinction between art and popular culture, between high culture and sub cultures. Her images form a counterpart to the easily identifiable language of fashion and advertising, as they transmit, reinforced by their shiny surfaces and photorealism, an underlying sense of desire.

Minter lives and works in New York. Her provocative work has been shown in a number of exhibitions both in the United States and in Europe. Major solo shows include ones at the San Francisco Museum of Modern Art (2005), at the Center for Contemporary Art, Cincinnati (2009), La Conservera, Centro de Arte Contemporáneo, Ceutí/Murcia, Spain (2009), at the Museum of Contemporary Art, Cleveland (2010), and at the Deichtorhallen, Hamburg (2011).

Her video Green Pink Caviar was shown in the lobby of MoMA for an entire year (2010–2011), as well as on digital billboards on Sunset Boulevard in LA and on Times Square in New York. A larger touring retrospective of Minter’s work was shown between 2015–2017, starting at the Contemporary Arts Museum in Houston, Texas, and finishing at the Brooklyn Museum in New York. This year she has taken part in exhibitions at the Modern Art Museum of Fort Worth (May to September), as well as at the McEvoy Foundation for the Arts with the exhibition Color Code, 23rd September 2022 until 21 January 2023.

183. Marilyn Minter, ‘Cat’s cradle’, 2006.

162. Bill Brandt (Germany, 1904–1983), ‘Francis Bacon on Primrose Hill, London’, 1963.

Signed Bill Brandt on the mount. Presumably printed before 1975.

Gelatin silver print mounted to cardboard, 34 x 29 cm. Mount 47.5 x 38.5 cm.

Provenance: Halstead Gallery, Birmingham.

Sarah Morthland Gallery, New York. Acquired by the present owner in 2012.

Exhibitions: The Metropolitan Museum of Art, New York, ‘Counterparts: Form and Emotion in Photographs’, 26 February – 1 May 1982, another example exhibited.

Contemporary Arts Center, Cincinnati, ‘Counterparts: Form and Emotion in Photographs’, 20 May – 2 July 1982, another example exhibited.

Dallas Museum of Art, Dallas, ‘Counterparts: Form and Emotion in Photographs’, 4 August – 13 September 1982, another example exhibited.

San Francisco Museum of Modern Art, San Francisco, ‘Counterparts: Form and Emotion in Photographs’, 19 November 1982 – 9 January 1983, another example exhibited.

Corcoran Gallery of Art, Washington D.C, ‘Counterparts: Form and Emotion in Photographs’, 22 February – 18 April 1983, another example exhibited.

The Metropolitan Museum of Art, New York, ‘Photographs from the Museum’s Collection’, 4 December – 17 March 1985, another example exhibited.

Literature: Bill Brandt, ‘Shadow of Light: Photographs by Bill Brandt’, 1977, illustrated no. 86. Sarah Hermanson Meister, ‘Bill Brandt: Shadow & Light’, 2013, illustrated p. 125. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

163. Martin Parr (Great Britain, 1952–), ‘Small World, Pisa, 1990’.

Signed Martin Parr verso. C–print mounted to aluminum and framed, image 50.7 x 61 cm. Including frame 56 x 66.5 cm.

Literature: Martin Parr, Geoff Dyer, Dewi Lewis, ‘Small World’, 2018, illustrated. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

164. Albert Watson (Great Britain, 1942–), ‘Kate Moss, Marrakech, 1993’.

Signed Albert Watson and numbered 22/25 verso. Archival pigment print mounted to aluminum and framed, image 60.5 x 46 cm. Sheet 76 x 61 cm.

Provenance: Tres Hombres Art, Halmstad.

Literature: James Crump, ‘Albert Watson’, 2007, no. 86, illustrated on full page as well as on the cover. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

165. Cooper & Gorfer (USA, 1974–), ‘Aana and the Flower Mantle’, 2016.

Signed and numbered 1/4 on label verso. Total edition of 4 + 2 AP. Archival pigment print, 161 x 121 cm including frame.

Provenance: Christian Larsen, Stockholm.

Estimate: SEK 100 000

125

EUR

166. Anton Corbijn (Netherlands, 1955–), ‘Keith Richards – Toronto’, 1994.

Signed Anton Corbijn and numbered 18/20 on the mount. Lithprint, image 45 x 45 cm. Provenance: Torch Gallery, Amsterdam. (d)

Estimate: SEK 80 000

100

EUR 7

167. Malick Sidibé (Mali, 1936–2016), ‘Regardez–moi’, 1962.

Signed Malick Sidibé and stamped ‘Studio Malick BP:455 Bamako’. Gelatin silver print, image 25.5 x 25.5 cm. Sheet 40.5 x 30.5 cm.

Provenance: Acquired from the photographer’s son in Mali. Private Collection.

Literature: Malick Sidibé, ‘Cotonou’, Fondation Zinsou, 2009, illustrated on p. 147. Artforum, Leora Maltz–Leca, Passages: ‘Malick Sidibé’, 21 September 2016, illustrated. Fondation Cartier pour l’art contemporain, Paris, ‘Malick Sidibé, Mali twist’, 2017, exhibition catalogue, illustrated on p. 193. (d)

Estimate: SEK 40

168. Maria Miesenberger (Sweden, 1965–), ‘Utan titel (I det/Im Grünen)’, 1993–1996.

From the series ‘Sverige/Schweden’, 1993–96. Signed Maria Miesenberger and numbered 2/3 and dated 1993–96 verso. Gelatin silver print 113 x 165 cm including the artist’s frame.

Provenance: Galleri Lars Bohman, Stockholm.

Literature: Maria Miesenberger, ‘Fotografier ur serien Sverige/Schweden’, 2011, illustrated on spread pl. no 023. Maria Miesenberger, Galleri Lars Bohman, ‘Works’, 1998, illustrated on full page p. 8. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 740 – 14 090

169. Denise Grünstein (Finland, 1950–), ‘Lumiere’, 2014.

From the series ‘1866’. Signed Denise Grünstein and numbered 2/12. Total edition of 12 + 3 AP. C–print mounted to aluminum and framed, image 45 x 56 cm.

Provenance: Galleri Charlotte Lund, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 760 – 4 700

170. William Wegman (USA, 1943–), ‘Step Sisters’, 1991.

Signed William Wegman and dated –91. Unique. Polaroid mounted to aluminum and framed, sheet 75 x 55 cm. Including frame 84 x 64 cm.

Provenance: Galleri Hedenius, Stockholm. Galleri Ferm, Gothenburg.

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

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

Signed Krisár and numbered 3/6 verso. C–print mounted to glass 40 x 50 cm.

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

Estimate:

172. Sam Samore (USA, 1963–), ‘Allegories of Beauty #5’, 1990’s.

Signed Sam Samore on certificate. Edition AP. Total edition of 2 + 1 AP. Gelatin silver print, image 33 x 76 cm. Including frame 82.5 x 124 cm.

Provenance: Directly from the artist to the present owner.

Literature: Sam Samore, ‘Allegories of Beauty (Incomplete), 1997, illustrated.

Estimate: SEK 60 000 – 80 000 / EUR 5 640 – 7 520

173. Mikael Jansson (Sweden, 1958–), ‘Imola #14’, 2006.

Giorgio Mondini, from the series ‘Speed of life’. Signed Mikael Jansson and numbered 2/3 verso. Printed in 2017. C–print silicone mounted to glass 100 x 150 cm.

Provenance: CF Hill, Stockholm. (d)

Estimate: SEK

174. Georg Oddner (Sweden, 1923–2007), ‘Den dansande matrosen, Kiev’, 1955.

Signed Georg Oddner. Most likely printed in the 1960’s. Gelatin silver print, image 19.3 x 26.5 cm.

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

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

Georg Oddner and Marianne Höök, ‘Georg Oddner. Genomresa’, 2003, illustrated on full page p. 155. (d)

Estimate: SEK

3

175. Christer Strömholm (Sweden, 1918–2002), ‘Madrid’, 1950’s.

Signed CHR Strömholm and with fingerprint verso. Gelatin silver print, image 26 x 19.5 cm.

Provenance: Galleri Camera Obscura, Stockholm. Karin & Lars Hall Collection.

Bukowski Auktioner, Höstens Contemporary, November 2012. Private Collection, Sweden.

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

Estimate: SEK

3

176. Martin Mlecko (Germany, 1951–2016), ‘Bibliotek 1’, 1996.

Stamped by Martin Mlecko Estate and numbered 4/5 verso. Printed in 2017. Gelatin silver print, collage, 141.5 x 122 cm including frame.

Provenance: Dorothée Nilsson Gallery, Berlin. (d)

Estimate:

177. Tuija Lindström (Finland, 1950–2017), ‘Sailors’, 1984.

Edition 1/1. Printed in 2010. Pigment print mounted to acrylic glass 80 x 123 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Literature: Dragana Vujanovic (ed.), Tuija Lindström – A Dream If Ever There Was One’, 2012, illustrated on full page.

Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820

178. Tuija Lindström (Finland, 1950–2017), ‘Sandemar’, 1991.

Signed Tuija Lindström and numbered 2/6 verso. Pigment print, image 38 x 118 cm.

Exhibitions: Fotografiska museet, Stockholm, ‘Paradigm’ , 1991, another example exhibited.

(d)

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

179. Christer Strömholm (Sweden, 1918–2002), ‘Paris 1962’.

Signed Christer Strömholm and dated 1978 on the mount. Gelatin silver print mounted on acid–free cardboard, image 30.5 x 23.8 cm.

Provenance: Galleri Camera Obscura, Stockholm.

Literature: Christer Strömholm – CHR’, 1998, illustrated full page p. 27. Lourdes Peracaula (ed.), ‘Christer Strömholm’, 2001, illustrated p. 71. Joakim & Jakob Strömholm, ‘Christer Strömholm 1918–2002, On verra bien’, 2002, illustrated full page p. 35.

Moderna Museet, ‘En annan historia’, 2011, illustrated pl. no 96. Joakim Strömholm (ed.),’Post Scriptum –Christer Strömholm’, 2012, illustrated full page p. 99.

(d)

Estimate: SEK 100 000 – 120 000 / EUR 9 390 – 11 270

184. Terry O’Neill, ‘Frank Sinatra, Miami Beach, 1968’.

TERRY O’NEILL

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 regard to his published commissions was always: ‘I want my pictures to tell a story – not sell a story’.

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.

For the moment O'Neill has a solo exhibition named ‘Stars’ at Fotografiska in Stockholm, it is on until October 16, 2022.

240. Terry O’Neill, ‘Faye Dunaway, Hollywood, 1977’.

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

Signed Calvero and dated November 2011 and numbered AP 1/2 verso. Gelatin silver print mounted to aluminum and framed, image 177.5 x 122.5 cm.

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

Estimate: SEK 50 000 – 60 000 / EUR 4 700 – 5 640

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

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

Provenance: Stefan Lundgren Gallery, Mallorca.

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

182. Mick Rock (Great Britain, 1948–2021), ‘David Bowie’, 2002.

Signed Mick Rock and numbered 13/90. C–print, image 38 x 37.5 cm. Including frame 66 x 62 cm.

Literature: Mick Rock, ‘Moonage Daydream’, 2022, illustrated. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

183. Marilyn Minter (USA, 1948–), ‘Cat’s cradle’, 2006.

Signed M. Minter on label verso. Edition 2/5 + 2 AP. C–print, image 100 x 66 cm. Including frame 130 x 94 cm.

Provenance: Andréhn–Schiptjenko, Stockholm.

Estimate: SEK 60 000 – 80 000 / EUR 5 640 – 7 520

184. Terry O’Neill (Great Britain, 1938–2019), ‘Frank Sinatra, Miami Beach, 1968’.

Signed Terry O’Neill and numbered AP. Gelatin silver print, image 112 x 165 cm. Including frame 129 x 188 cm.

Provenance: The PhotoGallery, Halmstad.

Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on spread p. 284–285. (d)

Estimate: SEK 200 000 – 250 000 / EUR 18 780 – 23 480

185. Johan Bergström (Sweden, 1978–), ‘Pagan Postcards (Mayhem Excerpt #04)’, 2011.

Signed Johan Bergström and numbered 1/2 on label verso. Pigment print 103 x 140 cm including frame.

Provenance: Nordin Gallery, Stockholm.

Exhibitions: Nordin Gallery, Stockholm, ‘Pagan Postcards’, 2012. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

RICHARD AVEDON

Jimmy Durante (1893–1980) was one of America’s most famous vaudeville artists. With one foot in the world of jazz and the other in comedy, Schnozzola (the name he gave himself due to his impressive nose) became a well–known name in the American entertainment industry. Apart from being a popular radio personality Durante was also a star on Broadway, and during the 1950s he even had his own TV show on NBC. With the same sense of frenzy and effortlessness he would play the piano, crack jokes or act in movies. In 1934 he wrote the song ‘Inka Dinka Doo’, which then became his signature piece.

Here Durante is seen through the lens of Richard Avedon (1923–2004), one of the greatest stars of photography. He specialised in fashion photography and portraits of famous people from the theatre, the movies, music and dance. Avedon began his professional life at Harper’s Bazaar (where he stayed for twenty years) and at Vogue Magazine. Throughout his almost sixty–year–long career he was awarded several prizes, including the Lifetime Achievement Award from the Council of Fashion Designers of America in 1989, and in 1991 the Hasselblad Award. His fashion images set the blueprint for almost every photographer and still continue to do so. In many of Avedon’s images it is, like in the present portrait, the subject’s charisma and personality that carries the shot. Jimmy Durante is caught in motion, just as he would greet his audience – by tipping his hat, a twinkle in his eye and a cheeky smile on his face.

190. Richard Avedon, ‘Jimmy Durante’, 1970.

186. Blaise Reutersward (Sweden, 1961–), ‘DL 1215’, 2012.

From the series ‘Deutsche Landschaft’. Signed BLAISE REUTERSWARD and numbered 1/5 on label verso. Total edition of 5 + 2 AP. Analogue C–print diasec mounted and framed 225 x 184 cm including frame. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

187. Annika von Hausswolff (Sweden, 1967–), ‘Sad Memories of Pink #2’, 2004. Signed Annika von Hausswolff and dated 2004 verso. Edition 2/4 + 1 AP. C–print silicone mounted to acrylic glass 180 x 80 cm.

Provenance: Andréhn–Schiptjenko, Stockholm.

Exhibitions: Air de Paris, Paris, ‘Annika von Hausswolff’, 2004.

Literature: Sara Despres (ed.) and Magasin 3 Konsthall Stockholm, ‘Ich bin die ecke aller räume’, 2008, illustrated p. 123. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 740 – 14 090

188. Adam Fuss (Great Britain, 1961–), ‘Untitled’, 2004.

Signed on label verso. Unique. Daguerreotype 45.7 x 37.7 cm including frame. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

189. Charlotte Gyllenhammar (Sweden, 1963–), ‘Fall I’, 1999.

Signed Charlotte Gyllenhammar verso. Edition 2/5. Cibachrome, laminate, aluminum 96 x 100 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Literature: Sophie Allgårdh and Estelle af Malmborg, ‘Svensk konst nu. 85 konstnärer födda efter 1960’, 2004, illustrated. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9

190. Richard Avedon (USA, 1923–2004), ‘Jimmy Durante’, 1970.

From the “Minneapolis Portfolio”. Signed Avedon and numbered 3/35. Gelatin silver print, image 55.5 x 48 cm. Sheet 60.9 x 50.7 cm.

Estimate: SEK 175 000 – 200 000 / EUR 16 440 – 18 780

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

Signed Irving Penn and numbered 7/17 verso. Printed by the photographer in 1979. Stamped ‘Photograph by Irving Penn, Copyright 1952 by The Condé Nast Publications Inc.’ verso.

Platinum palladium print mounted to aluminum, image 17.3 x 24 cm. Sheet 34 x 55 cm.

Provenance: Camera Obscura, Stockholm.

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

Estimate: SEK 70 000 – 90 000 / EUR 6 580 – 8

192. Helena Blomqvist (Sweden, 1975–), ‘Insomniac’, 2013.

Signed Helena Blomqvist and numbered 1/6 on label verso. Total edition of 6 + 2 AP.

Pigment print 105 x 132 cm including frame.

Provenance: Angelika Knäpper Gallery, Stockholm.

Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Panorama’, 23 August – 22 September 2013.

Literature: Helena Blomqvist and Lars Bohman Gallery, ‘Florentine’, 2016, illustrated on full page. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 640 – 7 520

193. Mats Bäcker (Sweden, 1958–), ‘Raw Power, Dad’s Dancehall, Copenhagen 1977’.

Signed Mats Bäcker and numbered AP 1/3 verso. Total edition of 25 + 3 AP.

Printed in 2018. Gelatin silver print mounted to aluminum and framed 60 x 90 cm. Exhibitions: Galleri Gauss, Stockholm, 1983, another example exhibited. Dansmuseet, Stockholm, “Raw power and endless stills”, 2004, another example exhibited. Fotografiska, Stockholm, “Raw Power”, 24 February – 7 May 2012, another example exhibited.

Literature: Lars Nylin (ed.), ‘Rockboken’, 1984, illustrated on full page.

Mats Bäcker, ‘Raw Power’, 2012, illustrated on the cover. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

194. Andreas Kock (Sweden, 1973–), ‘Stalker II’, 2010.

Signed Andreas Kock and numbered 9/15 verso. C–print 120 x 160 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

195. Mikael Jansson (Sweden, 1958–), ‘Hungarian #15’, 2003.

Signed Mikael

mounted

numbered

196. Mick Rock (Great Britain, 1948–2021), ‘David Bowie, New York, 2002’.

Signed Mick Rock and numbered

image

Estimate:

197. Jacob Felländer (Sweden, 1974–), ‘Peoplescape blue’, 2012.

Signed Jacob Felländer verso.

(d)

Estimate:

198. Åke E:son Lindman (Sweden, 1953–), ‘Flatiron Building, NYC’, 1997.

From the series ‘Pure Architecture’. Signed Åke E:son Lindman and dated 2016 and numbered 1/5 on label verso. Archival pigment print, image 240 x 118 cm. (d)

Estimate:

EUR 7 520

9 390

199. Maria Miesenberger (Sweden, 1965–), ‘Utan titel (Flicka och träd)’, 1993.

Executed in 1993. Edition 5 + 2 AP. Gelatin silver print 101 x 82.5 cm including the artist’s frame. Provenance: Galleri Arnstedt & Kullgren, Östra Karup. Stockholms Auktionsverk, Bo Siesjö Collection, 29 September 2010, Lot 68. Exhibitions: Ystads konstmuseum, ‘Utan titel, Bo Siesjös samling av svensk samtidskonst’, 27 March – 16 May 2010.

Literature: Maria Miesenberger and Galleri Lars Bohman, ‘Works’, 1998, illustrated p. 19. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 390 – 14 090

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

Numbered 2/3 on label verso. Total edition of 3 + 2 AP. Inkjet print, 70 x 100 cm. Provenance: Galerie Neu, Berlin. (d)

Estimate:

7 520

201. Louise Enhörning (Sweden, 1976–), ‘Closer’,

Signed

Provenance:

202. Louise Enhörning (Sweden, 1976–), ‘Closer’, 2015.

Signed Louise Enhörning

Provenance:

203. Jan Svenungsson (Sweden, 1961–), ‘Torn 7’, 1991.

Signed

Exhibitions:

Estimate:

For almost seventy years Gunnar Smoliansky captured the minutiae of the everyday with his camera. His photographic career had begun back in the 1950s and since then Smoliansky’s wanderings through Stockholm have resulted in a multitude of minimalist snapshots of the city and its inhabitants. Smoliansky’s ‘street photographs’ should almost be considered a working method rather than an artistic statement – the images appear like a series of everyday observations that develop into a photographic project.

Many of his images have over time become iconic period documents, showing architecture and city life strikingly different from today despite the passing of only a few decades. An excellent example of this is the image of playing children on Södermannagatan. Their clothes and hairstyles are typical of the period, but their smiles are timeless. The photo taken from Slussen, with the woman wearing a stripy dress, depicts a functionalistic built structure, loved by some and hated by others and which, with the

arrival of the much–talked about ‘Guldbron’ [The Golden Bridge], is now gone forever. Just like for Henri Cartier–Bresson and André Kertesz, two world–famous photographers with street life as their primary subject, Smoliansky’s imagery was found in the everyday and the seemingly insignificant. Wherever Smoliansky went his eye was alert to details. A park bench in Kungsträdgården, a shop window, a sleeping colleague at Atlas Copco, a bush, or a dress on a hanger could catch his attention. It was the moment that was important to Smoliansky, the amazing luck that he just happened to pass at that exact time. We are never given an explanation for his motifs, and the narrow crops reveal nothing about where the woman is heading or who the children are playing with. Nor do they know that they are becoming an important part of an artistic composition. Only the photographer sees and knows. All these contingencies create intimate, simple images that vibrate with everyday magic.

GUNNAR SMOLIANSKY

205. ‘17 februari 1977’.

209. ‘Atlas Copco, 1960’.

207. ‘Södermannagatan, 1959’.

Utan titel, 2013.

‘Slussen, 1960’.

204. Gunnar Smoliansky (Sweden, 1933–2019), ‘Slussen, 1960’.

Signed Gunnar Smoliansky verso. Gelatin silver print, image 26 x 17 cm.

Provenance: Acquired from the photographer in 2013 by the present owner.

Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky – One Picture at a Time’, 2008, illustrated full page pl. 95. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

205. Gunnar Smoliansky (Sweden, 1933–2019), ‘17 februari 1977’.

Signed Gunnar Smoliansky and dated 2013 and numbered 1/5 verso. Gelatin silver print, image 27.5 x 27.5 cm.

Provenance: Acquired from the photographer in 2013 by the present owner. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

206. Gunnar Smoliansky (Sweden, 1933–2019), ‘Kungsträdgården, 1956’.

Signed Gunnar Smoliansky and numbered AP verso. Gelatin silver print, image 27.2 x 27.2 cm.

Provenance: Acquired from the photographer in 2013 by the present owner.

Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky – One Picture at a Time’, 2008, illustrated full page pl. 32. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

207. Gunnar Smoliansky (Sweden, 1933–2019), ‘Södermannagatan, 1959’.

Signed Gunnar Smoliansky and numbered AP verso. Gelatin silver print, image 26.5 x 17 cm.

Provenance: Acquired from the photographer in 2013 by the present owner.

Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky – One Picture at a Time’, 2008, illustrated on full page p. 70.

Estimate:

208. Gunnar Smoliansky (Sweden, 1933–2019), Utan titel, 2013.

Signed Gunnar Smoliansky and numbered AP verso. Gelatin silver print, image 27.2 x 27.2 cm. Sheet 40.3 x 30.3 cm.

Provenance: Acquired from the photographer in 2013 by the present owner. (d)

Estimate:

209. Gunnar Smoliansky (Sweden, 1933–2019), ‘Atlas Copco, 1960’.

Signed Gunnar Smoliansky verso. Gelatin silver print, image 18.7 x 18.5 cm.

Provenance: Acquired from the photographer in 2013 by the present owner.

Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky – One Picture at a Time’, 2008, illustrated full page pl. 34.

Estimate:

210. Gunnar Smoliansky (Sweden, 1933–2019), Untitled, 1984.

Signed Gunnar Smoliansky and dated 1984 verso. Gelatin silver print, image 24.5 x 19.5 cm. Sheet 39.6 x 29.8 cm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

211. Gunnar Smoliansky (Sweden, 1933–2019), ‘Södermalm, 1970’.

Signed Gunnar Smoliansky and numbered AP verso. Gelatin silver print, image 27 x 18.2 cm.

Provenance: Acquired from the photographer in 2013 by the present owner.

Literature: Gunnar Smoliansky (e.a), ‘Gunnar Smoliansky – One Picture at a Time’, 2008, illustrated full page pl. 95. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

212. Gunnar Smoliansky (Sweden, 1933–2019), ‘5 februari 1978’.

Signed Gunnar Smoliansky and dated 2012 and numbered AP II verso. Gelatin silver print, image 27.7 x 27.5 cm.

Provenance: Acquired from the photographer in 2013 by the present owner. (d)

Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130

213. Tuija Lindström (Finland, 1950–2017), ‘Red Iron’, 1992.

From the series ‘The Girls at Bull’s pond’. Signed Tuija Lindström and numbered 1/1 verso. Pigment print, image 116 x 91 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Exhibitions: Galleri Index, Stockholm, 1992, another example exhibited. Liljevalchs konsthall, Stockholm, ‘Tuija Lindström. Look at Us’, 5 June – 22 August 2004, no. 76, another example exhibited.

Literature: Bo Nilsson, Niclas Östlind & Tuija Lindström, ‘Tuija Lindström. Look at Us’, 2004, illustrated on full page in colour, fig. 76. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

214. (Sweden, 1949–), ‘P 1371’, 1984.

Signed verso according to the label. Printed in 1985. Vintage. Gelatin silver print, image 22.7 x 19.4 cm. Including the artist’s frame 45.5 x 37.5 cm.

Literature: Dawid and Steven Henry Madoff, ‘Dawid – This is a photograph’, 2015, illustrated on full page p. 134. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

215. Ansel Adams (USA, 1902–1984), ‘Mr. and Mrs. William E. Colby, Big Sur, California 1956’.

Signed Ansel Adams and dated 1956 on the mount. The photographer’s and Hasselblad’s credit stamp on the reverse of the mount. Gelatin silver print laid down on cardboard, image 33.5 x 26 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820

ROBERT FRANK

When Robert Frank passed away in 2019 aged 94 it was the end of a long and successful career as a photograp her and filmmaker. In 1947 he left his country of birth, Switzerland, for New York and a job as a photographer at the magazine Harper’s Bazaar. Only a few years later he was part of the 1951 exhibition ‘51 American Photographers’ at MoMA in New York, curated by the legendary Edward Steichen. During the 1940s and 50s Frank was included, with Diane Arbus, Lisette Model and Weegee, amongst others, in the group often referred to as ‘The New York School of Photography’. His restrained and sometimes gritty black and white images of cities and urban life were combined with typically American imagery from the countryside and smaller communities, as well as with portraits.

In 1955 he was again selected by Steichen to include as many as seven photographs in the world–famous touring exhibition ‘The Family of Man’, which started at MoMA in New York. In the years that followed the show toured no fewer than 150 locations around the world and is believed to have been visited by more than 10 million viewers. That same year Frank was awarded a scholarship from the John Simon Guggenheim Memorial Foundation in order to be able to travel around the United States and take photographs. During the two–year period he worked on the project he took as many as 28,000 images, of which only eighty–three were chosen for the book ‘The Americans’.

The image in the auction, ‘Covered Car, Long Beach, California, 1956’, is one of these shots. It is also one of Frank’s most famous photographs. Frank took many pictures with cars and was fascinated by the American people’s love for their cars, something he had not encountered growing up in Europe. In the image we see a parked car covered by a protective sheet and flanked by two Californian palm trees. The sheet is used to protect a valuable asset, but in his book Frank contrasts this photograph with the image of a covered victim of a traffic accident in ‘Car Accident–U.S. 66, Between Winslow and Flagstaff, Arizona’.

221. Robert Frank , ‘Covered Car, Long Beach, California’, 1956.

215A. Per Wizén (Sweden, 1966–), ‘Untitled’ from ‘Spin’, 2001.

Signed Per Wizén and numbered 4/5 verso. Digital print, image 80 x 60 cm. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 700 – 6 580

216. Withdrawn.

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

Signed Helmut Newton and numbered 06277/10.000. Total edition of 10.000 + 200 AP. Book published by Taschen, Monte Carlo, 1999, 71 x 51 cm. With a metal table designed by Phillippe Starck and original cardboard box from Taschen.

Estimate: SEK 70 000 – 90 000 / EUR 6 580 – 8 450

218. 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 80 000 – 100 000 / EUR 7 520 – 9 390

219. Terry O’Neill (Great Britain, 1938–2019), ‘Honor Blackman on the Set of Goldfinger, 1964’.

Signed Terry O’Neill and numbered 36/50. Also signed by Honor Blackman. Certificate accompanies the work. Gelatin silver print, image 46 x 45 cm. Including frame 71.5 x 66 cm.

Provenance: Guy Hepner, New York.

Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on p. 333. (d)

Estimate: SEK 30 000

220. David Hockney (Great Britain, 1937–), ‘Joe MacDonald in His Apartment, New York, Dec 1982’.

Signed David Hockney and numbered #13 on the mount. A total edition of 20. Photographic collage 100.5 x 137.5 cm including frame.

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

Literature: David Hockney and Lawrence Weschler, ‘Cameraworks’, 1984, illustrated on pl. 83.

(d)

Estimate: SEK 200 000 – 250 000 / EUR 18 780 – 23 480

221. Robert Frank (USA, 1924–2019), ‘Covered Car, Long Beach, California’, 1956.

Signed Robert Frank. Gelatin silver print, image 22.6 x 33.9 cm. Sheet 27.7 x 35 cm.

Exhibitions: Another example exhibited at: Marlborough Gallery, New York, ‘Appearances’, 12 February 1977 – 12 March 1977.

National Gallery of Art, Washington D.C., ‘Looking In: Robert Frank’s The Americans’, 18 January – 26 April 2009.

San Francisco Museum of Modern Art, San Francisco, ‘Looking In: Robert Frank’s The Americans’, 17 maj – 23 augusti 2009.

The Metropolitan Museum of Art, New York, ‘Looking In: Robert Frank’s The Americans’, 20 september – 27 december 2009.

The Metropolitan Museum of Art, New York, ‘Now You See It: Photography and Concealment’, 31 mars – 1 september 2014.

Literature: Robert Frank, ‘Les Américains’, 1958, illustrated no. 34.

Robert Frank, ‘The Americans’, 1959, illustrated no. 34.

Ian Jeffrey Bayer (e.a), ‘Concerning Photography: Some Thoughts About Reading Photographs’, 1977, illustrated p. 52.

Tod Papageorge, ‘Walker Evans and Robert Frank: An Essay on Influence’, 1981, illustrated p. 45.

Jonathan Green , ‘American Photography: A Critical History 1945 to Present’, 1984, illustrated p. 169.

Sarah Greenough (e.a), ‘Robert Frank: Moving Out’, 1994, illustrated p. 187.

Tom E. Hinson, ‘The Cleveland Museum of Art: Catalogue of Photography’, 1997, illustrated p. 167.

Peter Galassi, ‘Walker Evans & Company’, 2002, illustrated pl. 102.

Princeton University Art Museum, ‘Handbook of the Collection’, 2007, illustrated p. 340.

John Szarkowski (ed.), ‘The Photographer’s Eye’, 2007, illustrated p. 26.

Sarah Greenough, ‘Looking In: Robert Frank’s The Americans’, 2009, illustrated no. 34, p. 250.

Princeton University Art Museum, ‘Handbook of the Collection’, 2013, illustrated p. 392.

Estimate:

222. Christer Strömholm (Sweden, 1918–2002), ‘Hotel Central, Paris, 1951’.

Signed CHR with finger print on the mount. Also signed verso. Gelatin silver print mounted to cardboard, image 30 x 24 cm. Cardboard 50 x 40 cm.

Literature: Joakim Strömholm (ed.), ‘Post Scriptum Christer Strömholm’, 2012, illustrated on p. 41. Joakim Strömholm and Jakob Strömholm, ‘Christer Strömholm 1918–2002, On verra bien’, 2002, illustrated on p. 33.

Estimate: SEK 15 000

20 000

EUR 1 410

1 880

223. Christer Strömholm (Sweden, 1918–2002), ‘Till minnet av mig själv, Paris, 1949’.

Signed CHR with finger print on the mount. Also signed verso. Gelatin silver print mounted to cardboard, image 23.5 x 30.5 cm. Cardboard 50 x 40 cm.

Literature: Christer Strömholm, ‘Till minnet av mig själv’, 1965, illustrated on the cover. Joakim Strömholm and Jakob Strömholm, ‘Christer Strömholm 1918–2002, On verra bien’, 2002, illustrated on p. 43. Joakim Strömholm (ed.), ‘Post Scriptum Christer Strömholm’, 2012, illustrated on p. 42. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

224. Christer Strömholm (Sweden, 1918–2002), ‘Paris, 1962’.

Signed CHR with finger print on the mount. Also signed verso. Gelatin silver print mounted to cardboard, image 23.5 x 30 cm. Cardboard 50 x 40 cm.

Literature: Joakim Strömholm (ed.), ‘Post Scriptum Christer Strömholm’, 2012, illustrated on p. 284. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

225. Ansel Adams (USA, 1902–1984), Untitled, probably 1950’s.

Signed Ansel Adams

stamp on the

image

Estimate:

the mount.

and Hasselblad’s

226. Ansel Adams (USA, 1902–1984), ‘Portrait – Girl’, probably 1950’s.

Signed Ansel Adams on the mount. The photographer’s and Hasselblad’s credit stamp on the reverse of

image

Estimate:

227. Tuija Lindström (Finland, 1950–2017), ‘Skansen’, 1987.

Signed Tuija Lindström verso.

Sheet

Literature:

Estimate:

228. Jorma Puranen (Finland, 1951–), ‘Shadows, reflections and all that sort of things # 9’, 2000.

Signed Jorma Puranen and dated 2000 and numbered 3/6 on label verso. C–print mounted to acrylic glass 96 x 74 cm.

Provenance: Galleri Flach, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

229. Denise Grünstein (Finland, 1950–), ‘Enfants Terribles’, 2015.

From the series ‘1866’. Signed Denise Grünstein and dated 2015 and numbered 12/12 verso. Total edition of 12 + 3 AP. C–print mounted to aluminum and framed, 46 x 57 cm including frame.

Provenance: Christian Larsen, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

230. Maria Miesenberger (Sweden, 1965–), ‘Utan titel (Erwartung/Förväntan’) , 1993.

Signed Maria Miesenberger verso. Printed in 2022. Total edition of 3. Gelatin silver print 105 x 79 cm including the artist’s frame.

Provenance: Galleri Adlercreutz–Björkholmen, Stockholm.

Literature: Maria Miesenberger and Galleri Lars Bohman, ‘Works’, 1998, illustrated p. 11. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 760 – 5 640

231. Cecilia Edefalk (Sweden, 1954–), ‘Sketches for a painting’, 2004.

Signed Cecilia Edefalk verso. Edition

including frame.

Provenance:

(d)

Estimate:

Stene,

232. Jack Pierson (USA, 1960–), ‘Palm Tree, LA’, 1996.

Signed and numbered 4/10 verso. Ektacolor print mounted to acrylic glass, 97.5

including acrylic glass frame.

Provenance: Roger Björkholmen Gallery, Stockholm.

Estimate:

233. Leif–Erik Nygårds (Sweden, 1939–2022), ‘Marilyn Monroe photographed in Los Angeles at Bel Air Hotel, June 27th 1962’.

Signed Leif–Erik Nygårds and numbered 15/150

verso. Cibachrome, image 29.5

entire edition

Estimate:

234. Cooper & Gorfer (USA, 1974–), ‘Sofia Against Pink’, 2017.

Signed and numbered 4/6 on label verso. Total edition of 6 + 2 AP. Archival pigment print, 111.5 x 84.5 cm including frame.

Provenance: Christian Larsen, Stockholm.

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

235. ‘Kirin’, 2005–2007.

Signed N Edenmont and numbered 5/6 on label verso. C–print mounted to aluminum 110 x 116 cm.

Provenance: Wetterling Gallery, Stockholm. Literature: Nathalia Edenmont, ‘Eternal’, 2011, illustrated on full page p. 150. Estimate: SEK 50 000 – 70 000 / EUR 4 700 – 6 580

236. Nan Goldin (USA, 1953–), ‘Cookie in the NY Inferno’, 1985.

Signed Nan Goldin and numbered on verso. Printed in 1989 for The Estate Projects 1989 Portfolio. Cibachrome, image 60 x 50 cm including frame. Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

237. Norman Parkinson (Great Britain, 1913–1990), ‘After Van Dongen’, 1959.

Signed Norman Parkinson verso. Cibachrome, image 35.5 x 25.5 cm. Sheet 43.3 x 33 cm.

Provenance: Hamiltons Gallery, London. Acquired by the present owner in 1992.

Literature: Terence Pepper, ‘Photographs by Norman Parkinson Fifty Years of Portraits and Fashion’, 1981, illustrated on cover.

Norman Parkinson, ‘Lifework’, 1983, illustrated on p. 65.

Louise Baring, ‘Norman Parkinson: A Very British Glamour’, 2009, illustrated on p. 84.

Robin Muir, ‘Norman Parkinson: Portraits in Fashion’, 2010, illustrated on p. 83 and cover. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 290 – 3 760

238. Masayoshi Sukita (Japan, 1938–), ‘David Bowie, V–2 Schneider, 1977’.

Signed Masayoshi Sukita and numbered 14/30 verso.

Archival Digital Print, image 41 x 34,5 cm. Including frame 62 x 53 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820

239. Jacob Felländer (Sweden, 1974–), ‘Blue Kaos’, 2009.

Signed Jacob Felländer and numbered AP 1/2 verso. Printed 2022. C–print mounted to glass and framed, image 80 x 175 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 640 – 7 520

STARN TWINS

Ever since the 1980s American twin brothers Mike and Doug Starn have explored photography as a medium and tested its limits. Their conceptual pieces often have a photograph as their starting point, which is then transferred to unusual materials such as glass, plastic film, scotch tape, sheet metal or hand–crafted paper. Their images are sometimes created like collages, constructed in several layers and held together with, for example, pins. ‘We’re trying to show that photography isn’t an image, it’s a three–dimensional object’, they’ve explained. ‘It can have the same kind of growth and limitations or non–limitations as the other arts.’ This innovative exploration of material has in some ways become the trademark of the Starn Twins, whether it be sculpture, painting, video or photography. The notion of light, as both idea and expression, remains a theme throughout their practice. The work can be about the way moths are attracted to a flame, the way light sifts through the branches of trees, or about religious enlightenment.

The twins’ artistic collaboration began when they were only thirteen years old, and age twenty–six they had their breakthrough at the Whitney Biennial in New York. Since then they have caught the art world’s attention with their exhibitions at the Stedelijk Museum in Amsterdam, the Metropolitan Museum of Art in New York, at the 2011 Venice Biennale and at the Museum of Fine Arts in Houston, amongst other places. Since the early 2000s the Starn Twins have regularly shown their work at the Wetterling Gallery in Stockholm, most recently with the exhibition Iggy and Franz in the summer of 2019.

Today their work can be found in, for example, the Museum of Modern Art, New York, San Francisco Museum of Modern Art, in the National Gallery of Victoria in Melbourne and at Moderna Museet in Stockholm.

248. Nygårds Karin Bengtsson, ‘A Fool’s Day’, 2016.

240. Terry O’Neill (Great Britain, 1938–2019), ‘Faye Dunaway, Hollywood, 1977’.

Signed Terry O’Neill and numbered 42/50. C–print, image 168 x 168 cm. Including frame 190 x 190 cm.

Provenance: The Photogallery, Halmstad.

Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on p.

full page p.

Estimate:

241. Albert Watson (Great Britain, 1942–), ‘Charlotte in Prada Blouse, Milan, Italy, 1989’.

Signed Albert Watson and numbered 2/10 on certificate. Printed in 2009. Archival pigment print, image 114 x 91 cm.

Provenance: Tres Hombres Art, Halmstad. (d)

Estimate:

80 000

100 000 / EUR 7 520

9 390

242. Amy Simon (USA, 1957–), ‘Magic Names No 1’, 2006.

Signed Amy Simon and numbered 1/3 verso. C–print mounted to acrylic glass 120 x 80 cm.

Provenance: Galleri Mårtenson & Persson, Stockholm

Estimate: SEK 20 000 – 30 000 / EUR 1 880

2 820

243. Blaise Reutersward (Sweden, 1961–), ‘ETRETAT 2’, 2002.

Signed Blaise R and numbered 1/5 verso. Total edition of 5 + 2 AP. Analogue C–print diasec mounted and framed, 141 x 170 cm including frame.

Exhibitions: Galleri Mårtenson & Persson, Påarp, ‘Time Shifting’, 2002, another example exhibited. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 640 – 7 520

244. Starn Twins (USA, 1961–), ‘Untitled, Bodhisattva #1’, 2005–2008.

Signed verso. Edition 1/1. Colour carbon print (watercolour pigments and gelatin) on Zerkall paper with 16K gold and palladium leaf water gliding, 197 x 161 cm including wooden frame.

Provenance: Wetterling Gallery, Stockholm.

Estimate: SEK 180 000 – 200 000 / EUR 16 910 – 18 780

245. Maria Friberg (Sweden, 1966–), ‘Alongside us #2’, 2007.

Signed Maria Friberg and numbered 5/5 verso.

Total edition of 5 + 2 AP. C–print, laminate, glass 93 x 196 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Literature: Maria Friberg e.a, ‘Maria Friberg’, 2008, illustrated on spread p. 9–10. Maria Friberg e.a, ‘Changed Positions’, 2015, illustrated on spread p. 48–49. (d)

Estimate: SEK 70 000 – 90 000 / EUR 6 580 – 8 450

246. Alberto Korda (Cuba, 1928–2001), ‘Guerrillero

Heroico, Ernesto ‘Che’ Guevara’, 1960.

Attenuated signature and dedication. Also distinctly signed Alberto Korda and dated –90 verso. Gelatin silver print, image 16.5 x 25 cm. Sheet 24 x 30 cm.

Provenance: Directly from the photographer to the present owner.

Estimate:

247. Bert Stern (USA, 1929–2013), ‘Marilyn Monroe in Dior (Vogue)’, 1962.

Signed Bert Stern. Copyright stamped and numbered verso. Printed in 2014. Archival pigment print, image 57 x 50 cm. Sheet 81 x 66 cm.

Estimate: SEK 50

248. Nygårds Karin Bengtsson (Sweden, 1972–), ‘A Fool’s Day’, 2016.

Signed Nygårds Karin Bengtsson and numbered 1/5 + 2 AP verso. C–print silicone mounted to aluminum and glass 123 x 151 cm.

Provenance: Galleri Thomas Wallner, Simris.

Exhibitions: Galleri Thomas Wallner, Simris, ‘A Fool´s Day’, 15 October – 20 November 2016, another example exhibited. (d)

Estimate:

249. Maria Friberg (Sweden, 1966–), ‘Duration 1’, 2012.

Signed Maria Friberg and numbered AP 1/2 verso.

C–print, oak wood, laminate, 110 x 80 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Literature: Maria Friberg e.a,

(d)

Estimate:

250. Ebba Matz (Sweden, 1963–), ‘Illusion: trick’, 2010.

Signed Ebba Matz and dated 2010 and numbered 1/6 verso.

C–Print mounted to glass 81 x 81 cm.

Provenance: Galerie Aronowitsch, Stockholm. (d)

Estimate:

251. Lotta Antonsson (Sweden, 1963–), ‘Highway 101’, 1995.

Signed Lotta Antonsson verso. C–print mounted to aluminum 69.5 x 104.5 cm. (d)

Estimate:

252. Elina Brotherus (Finland, 1972–), ‘Model Study 1’, 2002.

Signed Elina Brotherus and numbered 4/6 verso. C–print, image 83 x 104.5 cm. Provenance: Galleri Andersson/Sandström, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

253. Jorma Puranen (Finland, 1951–), ‘Shadows, reflections and all that sort of things #32’, 2004.

Signed Jorma Puranen on label verso. Edition 2/6. C–print mounted to diasec and acrylic glass 125 x 96 cm. Provenance: Galleri Flach, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 760 – 5 640

254. Cecilia Ömalm (Sweden, 1974–), ‘Malmaison #VI (Hunting Pavillion)’, 2007.

Signed Cecilia Ömalm and numbered 5/5 + 1 AP on label verso. Printed in 2012. Pigment print, image 137 x 107 cm. Including frame 161 x 131 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

255. Tuija Lindström (Finland, 1950–2017), ‘Maria’, 2010.

Signed Tuija Lindström and numbered 1/3 on label verso. Gelatin silver print mounted to glass 150 x 150 cm.

Provenance: Angelika Knäpper Gallery, Stockholm. (d)

Estimate:

256. Tuija Lindström (Finland, 1950–2017), ‘Sandemar’, 1991.

Signed Tuija Lindström and numbered 1/6 verso. Pigment print, image 38 x 118 cm. Exhibitions: Fotografiska museet, Stockholm, ‘Paradigm’ , 1991, another example exhibited. (d)

Estimate:

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

Presumably signed verso. Unique. Daguerrotype 35.6 x 27.9 cm. Mounted in plexi frame 54.5 x 47 cm.

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

Estimate:

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

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

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

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

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

259. David Drebin (Canada, 1970–), ‘Love Letter’, 2012.

Signed David Drebin and numbered 4/10 on label. C–print, image 76.5 x 115 cm.

Provenance: Oliver Cole Gallery, Miami.

Literature: David Drebin, ‘Beautiful Disasters’, 2012, illustrated on spread p. 16–17.

Estimate: SEK 50 000 – 70 000 / EUR 4 700 – 6 580

260. Torbjörn Calvero (Sweden, 1949–2016), ‘Jimmy Page, London, 1975’.

Signed Calvero and numbered 1/7. Pigment print, image 47 x 69 cm.

Literature: Torbjörn Calvero and Christer Olsson, ‘Från Abba till Zeppelin. Calveros 70–tal’, illustrated on p. 151. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

261. Hyun Jin Kwak (Sweden, 1974–), ‘Study of landscape & beauty #4’, 2014.

Signed Hyun Jin Kwack and dated 2014 and numbered 2/5 verso. C–print mounted to aluminum and acrylic glass 80 x 100 cm. Including frame 87 x 107 cm. (d)

Estimate: SEK 20

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

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

Provenance: Galleri Charlotte Lund, Stockholm.

Estimate: SEK 70 000 – 90 000 / EUR

263. Dan Wolgers (Sweden, 1955–) ‘Här slutar allmän väg’, 1995.

Signed Dan Wolgers and dated 1995 and numbered 22/75 verso. Cibachrome 29 x 49 cm.

Literature: Dan Wolgers, “Dan Wolgers verksamhet 1977–2001”, Liljevalchs konsthall, 2001, compare p. 108–111. (d)

Estimate: SEK 30

264. Denise Grünstein (Finland, 1950–), ‘Figur i landskap Nr 4’, 2001.

Signed Denise Grünstein and dated 2001 and numbered 1/3 verso. C–print mounted to a convex aluminum board and wood 103 x 250 cm.

Exhibitions: Moderna Museet, Stockholm, ‘Denise Grünstein, Figur i landskap’, 1 June – 23 September 2001.

Literature: ‘Denise Grünstein, Figur i landskap’, Moderna Muséet, 2001, exhibition, illustrated p. 28–30. (d)

Estimate:

265. Richard Kern (USA, 1954–), ‘Monica leaning against wall’, 1993.

Signed Richard Kern and numbered 3/10 on label verso. Gelatin silver print, image 115 x 76 cm.

Provenance: Björkholmen Gallery, Stockholm.

Estimate: SEK 50 000

60 000

4 700 – 5 640

266. Monika Larsen Dennis (Sweden, 1963–), ‘Over Easy’, 1997.

Triptyche. Signed Monika Larsen Dennis and numbered 1/5 verso. C–print mounted to glass, 44.5 x 44.5 cm per part. Suspension device included in Lot.

(d)

Estimate: SEK 8 000

760

940

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

From the series ‘Bilder av Nådens barn’. Signed Sune Jonsson verso. Gelatin silver print, image 26 x 28 cm.

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

Estimate: SEK 18 000

268. Antanas Sutkus (Lithuania, 1939–), ‘In a Bus, 1, Vilnius, 1970’.

Signed A. Sutkus verso. Gelatin silver print, image 31.5 x 37.5 cm. Sheet 40 x 50 cm. Provenance: Directly from the photographer to the present owner. (d)

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

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

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

Provenance: Directly from the photographer to the present owner. (d)

Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130

270. Miriam Bäckström (Sweden, 1967–), ‘Rebecka as Anonymous’, 2004.

Portfolio containing 29 pigment prints, printed on both sides, mirror reversed. Signed Miriam Bäckström and numbered 2/6 on the certificate. Total edition of 6 + 2 AP. Each pigment print 52 x

cm. Portfolio box

Provenance: Galerie Nordenhake, Berlin/Stockholm.

Estimate:

x

x 5.5 cm.

271. Mikael Richter (Sweden, 1963–), ‘Allt kommer att bli bra’.

Signed Mikael Richter on verso and executed 2008. Vinyl on aluminum 32 x 64 cm.

Provenance: Galleri Andersson Sandström, Stockholm.

Estimate:

272. Barbro Östlihn (Sweden, 1930–1995), Untitled.

Signed Östlihn and dated –83 verso. Canvas 18 x 14 cm.

Provenance: Acquired from the artist.

Estimate:

273. Rita Lundqvist (Sweden, 1953–), ‘Soptunna’.

Signed Rita Lundqvist and dated 1995 verso. Panel 17 x 24 cm.

Provenance: Galleri Krister Fahl, Stockholm.

Estimate:

5

274. Juri Markkula (Sweden, 1970–), ‘Carmin Ground’.

Signed Juri Markkula and dated 2015 verso. Pigmented polyvinyl, polyurethan 49.7 x 49.7 x 13 cm. (d)

Estimate:

275. Marie–Louise Ekman (Sweden, 1944–), Untitled.

Executed in 1967. Assemblage in plexibox. Height 25.5 cm, length 25.2 cm and depth 25.5 cm. Provenance: Acquired from the artist. Exhibitions: Form Design Center 1968. (d)

Estimate: SEK 20

276. Mats Gustafson (Sweden, 1951–), Untitled. Watercolour on paper 75 x 56 cm. Including frame 91.5 x 72.5 cm. Provenance: Galleri Löwenadler, Stockholm. Acquired in the 1990’s by the present owner. (d)

Estimate: SEK

277. Joakim Ojanen (Sweden, 1985–), Untited.

Signed Joakim Ojanen. Executed in 2014. Gouache on paper 29.5 x 22.5 cm. Provenance: Acquired from the artist in 2014. (d)

Estimate:

278. Joakim Ojanen (Sweden, 1985–), Untitled.

Signed Joakim Ojanen. Executed in 2014. Gouache on paper 29 x 22.5 cm. Provenance: Acquired from the artist in 2014. (d)

Estimate:

130

279. Jim Thorell (Sweden, 1981–), Untitled.

Signed Jim Thorell and dated ‘15 on verso. Canvas 200 x 140 cm. (d)

Estimate:

280. Fredrik Wretman (Sweden, 1953–), ‘Minitrans’.

Signed

Estimate:

281. Lukas Göthman (Sweden, 1970–), ‘Fall together’.

Signed Lukas Göthman and dated 2007 verso. Oil on MDF 22 x 31 cm. Provenance: Galleri Roger Björkholmen, Stockholm. (d)

Estimate: SEK 10

282. Daniel Jensen (Sweden, 1972–), Untitled.

Signed D Jensen and dated 2019 on verso. Soft pastel, graphite and gesso on canvas 180 × 130 cm.

Provenance: Galleri Roger Björkholmen, Stockholm. (d)

Estimate:

283. Matthias

Signed

Arkel

284. Lena Cronqvist (Sweden, 1938–), ‘Flicka med katt’.

Signed

285. Peter Frie (Sweden, 1947–), Untitled.

Signed

286. Martin Wickström

287. Alfred Boman (Sweden,

Untitled.

288. Patrik Andiné (Sweden,

‘Kvinnan framför’.

Rehnberg

290. Peter Köhler (Sweden, 1971–), ‘Crepuscular Tales #30’.

291A. Marie–Louise Ekman (Sweden, 1944–), ‘Möte med ett monument X (och en Olle Baertling–tavla)...’.

Signed M.L De Geer Bergenstråhle and dated 1980. Gouache on silk 29.3 x 20.2 cm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 290 – 3 760

292. Rolf Hanson (Sweden, 1953–), ‘Nakou’.

Signed Rolf Hanson and dated 1990 verso. Oil on panel 122 x 182.5 cm.

Exhibitions: Rooseum, Malmö, Sweden, ‘Rolf Hanson’, 1995, illustrated in the catalogue p. 28. Hishult, 8 March – 30 April 1997. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 390 – 11 740

293. Lars Englund (Sweden, 1933–), Untitled.

Signed Englund and dated 03. Steel, d: 21 cm. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 690 – 1 880

294. Johan Furåker (Sweden, 1978–), ‘Paradisus Terrestris’.

Signed Johan Furåker and dated –12 on verso. Panel 73.5 x 95 cm.

Provenance: Galleri Flach, Stockholm.

Exhibitions: Galleri Flach, Stockholm, ‘Johan Furåker: Paradisus Terrestris’, 2012. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 760 – 4 700

295. Lena Johansson (Sweden, 1975–), ‘Flicka framför vit gardin’ (Girl in front of white curtain).

Signed Lena Johansson and dated 2015 verso. Panel 63 x 50.8 cm.

Provenance: Galleri Andréhn–Schiptjenko, Stockholm.

Estimate:

296. Peter Frie (Sweden, 1947–), ‘Gewölk no. 14’.

Signed Peter Frie and dated 2005 on verso. Oil on canvas 190 x 180 cm.

Estimate:

297. Jens Fänge (Sweden, 1965–), ‘Red Vest, Purple Feeling’.

Signed Jens Fänge and dated 2003 on verso. Canvas 166 x 152 cm.

Provenance: Carnegie Art Award 2004. Bukowski Auktioner, Moderna, Contemporary & design 2006, lot no. 529. Private Collection, acquired from the above.

Estimate:

298. Dan Wolgers (Sweden, 1955–), ‘Objekt’.

Signed W and date 91 on verso. Plaster and two bells in brass, 15 x 11 x 6 cm. ‘The boy’s dry tears jingle as they trickle down’.

Literature: Pontus Hultén and Dan Wolgers, ‘Dan Wolgers, 120 verk 1977–1996’, illustrated fullpage p. 69. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820

299. Christine Ödlund (Sweden, 1963–), ‘The Allotments’.

Signed Christine Ödlund and dated 2020 verso. Canvas 175.5 x 113 cm.

Provenance: CF Hill, Stockholm. Exhibitions: CF Hill, Stockholm, ‘Christine Ödlund, Systema Naturae’, 14 February – 28 March 2020. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 640 – 7 520

300. Ann Edholm (Sweden, 1953–), Untitled.

Signed Ann Edholm and dated –95 verso. Canvas 41 x 41 cm. Provenance: Galerie Nordenhake, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820

ANDREAS ERIKSSON

Since he was young painting has dominated Andreas Eriksson’s artistic practice. When he employs other forms of expression, such as photography, sculpture or weaving, it is predominantly in order to examine painterly techniques and concerns.

Nature and specifically trees are central to his work, and his practice is often referred to in terms of a northern European painting tradition. When Eriksson suddenly became afflicted with ‘electromagnetic hypersensitivity’ at the beginning of the 2000s he felt forced to leave his life in the vibrant art capital Berlin, where up until then he had been living and working. He instead chose to live in relative isolation in an electromagnetically screened house by Kinnekulle in the Västergötland province of Sweden. The cacophony of the city was exchanged for quiet walks in nature. This contrast is a clear presence in Eriksson’s images and through his artistic practice he explores the duality of contemporary human life – our dependence on and our relationship to modernity.

Jennifer Higgie (art critic and editor at Frieze magazine) wrote the following in Moderna Museet’s catalogue for the 2011 Venice Biennale, when Eriksson represented Sweden:

He (Andreas Eriksson) states that nature is something neutral to him, something that is ‘highly precise and strikingly random’ and which lacks a connection to ‘a deliberate, constructed or strategic context’. He does not consider nature to be something that is in opposition with culture, even if he admits that it is impossible not to filter an environment – or a painting or a sculpture – through one’s own cultural and personal associations. It is, in other words, impossible to see something as solely one thing. Everything generates a chain of connections, an allusion to something else – a memory.

Eriksson is sought after for exhibitions both internationally and within Sweden. In 2007 he received the highly prestigious ‘Baloise Art Prize’ at Statement, Art Basel. His first solo show at a major art institution was at Bonniers Konsthall in the spring of 2014. The exhibition was a critical success and toured Trondheim Kunstmuseum in Norway, Centre PasquArt in Switzerland and the Reykjavik Art Museum, Iceland.

301. Andreas Eriksson, ‘Trädstam –07’.

364. Andreas Eriksson, ‘Driving 4’.

366. Andreas Eriksson, ‘Untitled’.

303. Andreas Eriksson, ‘Content is a glimpse #23’.

302. Andreas Eriksson, ‘Content is a glimpse #21’.

The two bronze sculptures, Content is a glimpse #21 and Content is a glimpse #23, tell us so many things about Andreas Eriksson’s artistic practice – that Swedish nature is his main source of inspiration, that he is able to elevate tiny details and transform the quietness of the everyday into evocative art, that he moves between different forms of expression and materials with ease, and that the titles are a quote by the artist Willem de Kooning. Furthermore, the sculptures were included in his big breakthrough at the 2011 Venice Biennale.

The background to these sculptures is a rather sombre story. The windows in Eriksson’s studio sometimes confuse little birds with the result that they crash into the glass, break their necks and die. Instead Eriksson immortalises them by transforming their tiny bodies into bronze birds perched on branches, not unlike the branches that tap on his bedroom window at night. In 2011 Eriksson was selected to represent Sweden at the Nordic Pavilion in Venice, together with Fia Backström. There he chose to underline the

interaction between the inside and the outside, nature and architecture, by allowing the existing large tree trunks at the centre of the pavilion to communicate with the large paintings and the small bronze sculptures of mole hills and dead birds that were arranged on the floor.

Since then Eriksson has been in constant demand for exhibitions both within and outside of Sweden. His first solo show at a major institution was given the title Runt omkring [All around] and took place at Bonniers Konsthall in the spring of 2014. The exhibition attracted considerable critical acclaim and went on to tour Europe. Both of these sculptures came along for that entire journey. Like migrating birds they departed Sweden for Trondheim Kunstmuseum, Centre PasquArt, Switzerland, and the Reykjavik Art Museum. After several shows in Sweden and Europe, Eriksson debuted on the London art scene in 2013. His exhibition Coincidental Mapping at the prestigious Stephen Friedman Gallery was very well received and was followed up by a further show in the spring of 2016.

301. Andreas Eriksson (Sweden, 1975–), ‘Trädstam –07’. Signed Andreas Eriksson and dated 2007 verso. Oil and acrylic on canvas 99 x 74 cm. (d)

Estimate:

302. Andreas Eriksson (Sweden, 1975–), ‘Content is a glimpse #21’.

Signed AE. Executed in 2008. Unique. Patinated bronze. Height 31.5 cm. Provenance: Galleri Riis, Stockholm. Bukowski Auktioner, Contemporary Hösten 2016, lot. no. 57.

Exhibitions: MUMOK (Museum Moderner Kunst Stiftung Ludwig), Wien, ‘Walking the Dog, Lying on the Sofa’, 10 October 2008–11 January 2009. Galleri Riis, Oslo, ‘Roundabout the hardship of believing’, 5 March – 4 April 2009. 54 Biennale di Venezia, Venice, The Nordic Pavillion Andreas Eriksson and Fia Backström, 4 June 2011 – 27 November 2011.

Bonniers Konsthall, Stockholm, ‘Andreas Eriksson Roundabouts’, 29 January – 23 March 2014. Touring to Trondheim Kunstmuseum, Norway, Centre PasquArt, Biel in Switzerland and Reykjavik Art Museum, Iceland. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

303. Andreas Eriksson (Sweden, 1975–), ‘Content is a glimpse #23’.

Signed EA. Executed in 2008. Unique. Patinated bronze. Height 20.5 cm. Provenance: Galleri Riis, Stockholm. Bukowski Auktioner, Contemporary Hösten 2016, lot. no. 68. Private Collection.

Exhibitions: MUMOK (Museum Moderner Kunst Stiftung Ludwig), Wien, ‘Walking the Dog, Lying on the Sofa’, 10 October 2008–11 January 2009.

Galleri Riis, Oslo, ‘Roundabout the hardship of believing’, 5 March – 4 April 2009. 54 Biennale di Venezia, Venedig, The Nordic Pavillion Andreas Eriksson and Fia Backström, 4 June 2011 – 27 November 2011.

Bonniers Konsthall, Stockholm, ‘Andreas Eriksson Roundabouts’, 29 January – 23 March 2014. Touring to Trondheim Kunstmuseum, Norway, Centre PasquArt, Biel in Switzerland and Reykjavik Art Museum, Iceland. (d)

Estimate: SEK 80 000 / EUR 7 520

Jan Håfström

306. Paul Fägerskiöld (Sweden, 1982–), Untitled. Signed Paul Fägerskiöld and dated 2014 on verso. Acrylic on canvas

x

cm.

Provenance: Andersen’s Contemporary, Copenhagen.

Andersen’s Contemporary, Copenhagen, ‘Paul Fägerskiöld, Selected

305. Lukas Göthman (Sweden, 1970–), ‘In the Belly of the Monster’.

Lukas

dated

MARIA MIESENBERGER

Children are constantly present in Maria Miesenberger’s art. Such a starting point might easily be idealised, but not in the case of Miesenberger, who takes a critical approach to gender, norms and childhood. Just as in Miesenberger’s photographic pictures containing blacked–out and reworked images from the family photo album, in the sculpture ‘Half an Angel’, she has erased all personal characteristics and attributes. Something of the child in the artist’s photographs seems to have stepped out and taken three–dimen sional form. Like the dancing, blurred surface of the photographs, the profile of the aluminium sculpture has been softened by patterns reminiscent of fingerprints swirling around the whole of the small child’s body. With a child’s intuitive curiosity, the little body stretches upwards and forwards, towards the world and towards new experiences – towards life!

The auction’s version of ‘Half an Angel’ is a forerunner of the monumental version that stands in Telenor’s head office in Fornebu outside Oslo. Another example of the small–scale version is in the park of Solliden Palace on the island of Öland. Estelle af Malmborg describes the large sculpture in Oslo as follows: ‘... Half an Angel (2002), a 7.6 metre–high aluminium girl languidly stretching, unaware of the world around her, with one arm behind her head like an angel’s wing. As in many of her aluminium pieces, Maria Miesenberger has worked on the surface, creating an organic pattern of whorls. This soft effect attracts the eye, breaking away from a tougher genre of sculpture weighed down by tradition.’

Miesenberger’s imagery exists on many different levels. It spans opposites such as present and past, dark and light, the individual and the collective, joy and sorrow. The artist is not interested in telling her own story. Instead, she throws the question back on the viewer, asking what is your history, what is your story, your experience? Her art is imbued with a strong vein of curiosity paired with a large portion of humility. Taking the self and the individual as her starting point, she is able to pose highly and constantly relevant questions about what it actually means to be human.

307. Maria Miesenberger, ‘Half an Angel’.

OLA BILLGREN

The self–taught Ola Billgren found success in the mid–60s with his hyper–real style, inspired by movies, literature and photography, and with names such as Antonioni, Robbe–Grillet and the British photographer Bill Brandt as his role models. He also knew his art history and was influenced by old masters such as Titian, Rembrandt, Delacroix and Munch. Billgren’s painting has been compared to Dutch 17th century masters like, for example, Pieter de Hooch and Vermeer and we find in his work the same sincerity, intimacy and stillness.

Billgren’s breakthrough came at Galleri Karlsson in Stockholm in 1966. In 1967 he exhibited under the title Här och nu [Here and Now] at Gävle

museum. At this stage photorealism had become his battleground as he had broken off with modernism – no more art for art’s sake. ‘Everyone who looks at my paintings should get something from them’. With his painting he wanted to find ‘the unmade image’, in contradiction to the current trends in the arts of that time. The painting in the auction, Himmel [Sky], dated 1973, comes from an important period in the artist’s oeuvre, when many of his most significant works were executed. Billgren worked, like a baroque master, with the dramatic play between light and shade, whilst still clearly situating his imagery in a contemporary moment.

316. Ola Billgren, ‘Himmel’.

LINN FERNSTRÖM

Knotty mountain birches stretch their desolate trunks up towards the winter sky. The ground is covered in snow and it is difficult to discern where the horizon begins as the snowy–white ground blends into the heavens. Red, yellow and light purple flowers persist in growing despite the snow, and their green leaves are in sharp contrast with the wintery–pale surroundings. A woman is standing at the centre of the image. Wearing a summer dress and with snow up to her knees, she is reminiscent of both the birch trees and the flowers. That is as someone defiant, going against the current, and who refuses to be caught in winter’s paralysing hold. She is not alone – at the bottom of the picture a small puppy is balancing on the snow’s crust. The alert little dog turns towards the viewer, as if we have just interrupted its mischief.

But, surely something is missing? The way the young woman is holding her arms as if in an embrace is paradoxical. Has something been lost or is the protective clasp an expression of a desire or a dream?

As always when faced with Fernström’s paintings, relationships are destabilised and structures and foregone conclusions are turned upside down just as quickly as the viewer finds this dream–like realism completely rational. Fernström possesses a painterly and poetic strength and Omhålla is both an important and highly fascinating piece within the artist’s oeuvre. From her early paintings in which extremes were, so to speak, hurled from the canvases, in later years a maturity has emerged, creating a more subtle, yet still powerful, expression. The colour palette has become somewhat cooler and the artist has begun to demand more from her viewers. In this powerful composition Fernström rests on an art historical foundation. Her way of looking at the world can be compared to the sense of immediacy found in naive art, where there is a clear perceptiveness for details. Like her artistic predecessors Fernström possesses the ability to create magic out of the everyday. In the same pure way that children experience the world around them, the artist allows all of life’s oddities to generate dreams and fantasies in a totally recognisable environment. And do we not also recognise the artist herself, as she stands there safely anchored to the possibilities of painting, her feet buried in the snow?

Fernström debuted in 2000, the same year she graduated from the Royal Institute of Art in Stockholm. Since then she has exhibited both in Sweden and abroad. Fernström has brought a Nordic tradition, where painting occupies an important position, into the 21st century. Her work is represented in, for example, the collections of Moderna Museet in Stockholm, Malmö Museum, Borås Konstmuseum and Linköpings konstmuseum.

309. Linn Fernström, ‘Omhålla’.

307. Maria Miesenberger (Sweden, 1965–), ‘Half an Angel’.

Signed Maria Miesenberger and dated 2002. Numbered 2/5.

Aluminium. Height 118 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Literature: Elisabeth and Björn Lennegran (ed.), ‘Mottagarna av det Ljunggrenska Konstnärspriset och Formgivarpriset 2002– Maria Miesenberger och Anna Kraitz’, 2002, compare image.

Sophie Allgårdh and Estelle af Malmborg, ‘Svensk konst nu – 85 konstnärer födda efter 1960’, 2004, compare image.

Maria Miesenberger och Elisabeth Haglund, ‘Maria Miesenberger’, 2008, compare image page 19. (d)

Estimate: SEK 400 000 – 600 000 / EUR 37 560 – 56 340

308. Clay Ketter (Sweden, 1961–), ‘Lund Wall, B1’.

Signed Clay Ketter and dated 2001 verso. Mixed media om panel 180 x 180 cm.

Provenance: Galleri Charlotte Lund, Stockholm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

309. Linn Fernström (Sweden, 1974–), ‘Omhålla’.

Signed Linn Fernström and dated 2008 verso.

Canvas 210 x 300 cm.

Provenance: Galleri Lars Bohman, Stockholm. Bukowski Auktioner, Höstens Contemporary 2014, cat. no. 327. Private Collection.

Exhibitions: Galleri Lars Bohman, Stockholm, ‘Linn Fernström Målningar 2006 – 2008’, 30 August – 28 September 2008.

Sörmlands museum, Nyköping, ‘Linn Fernström’, 11 June – 2 October 2022.

Literature: Galleri Lars Bohman, ‘Linn Fernström Målningar 2006–2008’, 2008, illustrated fullpage p. 51. (d)

Estimate: SEK 500 000 – 600 000 / EUR 46 950 – 56 340

311.

310. Idun

Signed

Provenance:

Estimate:

312. Jan Håfström

Signed

Estimate:

BARBRO ÖSTLIHN

Today Barbro Östlihn is considered one of Sweden’s most important artists and this year a major retrospective exhibition of her work was showed at Göteborgs konstmuseum. However, her career was always more international than Swedish. During Östlihn’s lifetime her work was not particularly noticed in her country of birth, despite her having had solo shows at several of the most important contemporary art galleries in New York and Paris. Fortunately, in later years her paintings have begun to be more and more praised and appreciated in Sweden too.

Barbro Östlihn and her husband Öyvind Fahlström moved to 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 artists that they socialised with are associated with the Pop Art movement. Included in their circle of friends were, for example, Claire and Tom Wesselmann, Claes Oldenburg, Robert Rauschenberg and Jasper Johns. The Östlihn/Fahlström couple lived and worked in the studio on 128 Front Street that the artist Robert Rauschenberg had just vacated. They had arrived in New York to find new inspiration and material for their work. To them all motifs in Europe, and particularly in Paris, were jaded. Paris was too beautiful and had by now become an artistic cliché. In New York, on the other hand, they found a run–down city that was not romantic but ugly and flawed, and therefore could be used in their work without being compared to other artists. Here Östlihn developed a stylised painting based on the facades and buildings of Manhattan, which at the time were being torn down to make room for skyscrapers. As Östlihn wandered across the city with her camera she ended up documenting the big city as it transformed. She was often seen by bewildered people who wondered why she was taking close–ups of facades and houses – thinking it was strange to take pictures with no people in them. Östlihn, however, quickly discovered a method of relating artistically to her new environment, a method that she stuck to throughout the fifteen years she spent in New York.

In November 1963 Östlihn had a solo exhibition at Cordier & Ekstrom, the New York branch of Öyvind Fahlström’s Paris gallerist Daniel Cordier. Here she showed paintings executed between 1961 and ‘63, exhibiting for the first time her facade paintings. The exhibition received a lot of attention and was written about in both the New York Times and the New York Herald Tribune. During this exhibition and those that followed Östlihn was often given positive feedback by other artists. Among those who bought her work were, for example, Arman and Roy Lichtenstein. The artist and critic Donald Judd was fascinated by her paintings and in the 1964 issue of Art International Barbara Rose compared her to the artist Agnes Martin.

The painting in the auction, 299 Grand Street, was exhibited at a group show at Cordier & Ekstrom in 1964. Since then it has been a part of gallery owner Arne H Ekström’s private collection, as well as the collection of Björn Springfeldt, director of Moderna museet in Stockholm between 1989–1996.

317. Barbro Östlihn, ‘299 Grand St. NYC.’.

313. Håkan Rehnberg (Sweden, 1953–), Untitled.

Signed Håkan Rehnberg and dated 1999 on verso. Oil on plexi 150 x 125 cm.

Provenance: Galerie Nordenhake, Stockholm. (d)

Estimate: SEK 80

100

EUR

390

314. Marie–Louise Ekman (Sweden, 1944–), Untitled.

Executed in 1967. Assemblage in plexibox. Height 25.5 cm, length 25.4 cm, depth 25.4 cm.

Provenance: Acquired from the artist.

Exhibitions: Form Design Center 1968. (d)

Estimate: SEK 20

25

EUR

880

2 350

315. Marie–Louise Ekman (Sweden, 1944–), Untitled.

Executed in 1967. Assemblage in plexibox. Height 25.7 cm, length 25.5 cm, depth 25.4 cm.

Provenance: Acquired from the artist.

Exhibitions: Form Design Center 1968. (d)

Estimate: SEK 20

25

EUR 1 880

2 350

316. Ola Billgren (Sweden, 1940–2001), ‘Himmel’.

Signed Ola Billgren and dated –73 on verso. Oil on canvas 65 x 71 cm. Provenance: Galerie Belle, Västerås. (d)

Estimate: SEK 200 000 – 250 000 / EUR 18 780 – 23 480

317. Barbro Östlihn (Sweden, 1930–1995), ‘299 Grand St. NYC.’.

Signed Östlihn and dated 1963. Oil on canvas 152 x 106.5 cm.

Provenance: Cordier & Ekstrom, New York. Arne H Ekström Collection, New York. Björn Springfeldt Family Collection, Stockholm.

Exhibitions: Cordier & Ekstrom, New York, “For Eyes and Ears”, 1964. Moderna Museet, Stockholm, “Barbro Östlihn”, 21 January – 4 March 1984. cat no. 6.

Literature: Norrköpings Konstmuseum, ‘Barbro Östlihn Liv och Konst’, 2003, exhibition catalogue, illustrated full page p. 53. (d)

Estimate: SEK 400 000 – 600 000 / EUR 37 560 – 56 340

318. Barbro Bäckström (Sweden, 1939–1990), ‘Icco’.

Signed Barbro Bäckström, dated 1980 and numbered 5/20 underneath the stand. Bronze, gold patina. Height 22.5 cm. Mounted on wooden stand, total height 25 cm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130

320A.

Lars Hillersberg

323. Marie–Louise Ekman (Sweden, 1944–), ‘Råttmiddagen’.

324. Bruno Knutman (Sweden,

‘Nya Kungen’.

325. Ulf Rahmberg (Sweden, 1935–), Untitled.

Signed

Estimate:

dated Sep–58 verso. Canvas

x

cm.

326. Marie–Louise Ekman (Sweden, 1944–), ‘Tavla med flicka som står på en fjäril’.

Signed M.L. De Geer and dated 1967. Canvas 90 x 62 cm. Exhibitions: Moderna Museet, Stockholm, ‘Marie–Louise Ekman’, 17 June – 17 September 2017.

Estimate:

327. Ulf Rahmberg (Sweden, 1935–), ‘Skiss till nr 24’.

Executed in 1978. Mixed media on paper 61.5 x 93.5 cm.

Literature: Ulf Rahmberg, Borås Konstmuseum, ‘Ulf Rahmberg, Lustarnas Trädgård och Civilisationens Nedräkning’, 2012, illustrated fullpage p. 74–75.

Estimate:

328. Marie–Louise Ekman

Signed

Estimate:

329. Lars Englund (Sweden, 1933–).

steel.

‘Telefonkvinnan’.

330. Ulf Rahmberg (Sweden, 1935–), Untitled.

BROOS

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.

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.

337. Karin Broos, ‘Resan’.

ROLF HANSON

Rolf Hanson belongs to the generation of Swedish artists, born in the early 1950s, who entered art schools during the 1970s. They became part of a countermovement, in a very politicized decade where art was judged by its moral content. Their bold and individualistic style of painting permeated the 1980s, which also saw the emergence of a new interest in art collecting driven by the financial markets.

The spotlight on art had moved from Paris to the New World and American action–painting influenced a world of artists and patrons. While Hanson’s work is rooted in national romanticism and symbolism, his technique and force of expression are strongly inspired by the powerful style of painting of the 1950–60s. Glowing abstract expressionism in combination with the large format of the paintings, almost overwhelms the viewer.

Ever since the first major solo exhibition at Moderna Museet in Stockholm in 1985, Hanson’s work has generated interest. In 1988 he was appointed to represent Sweden at the Venice Biennale and in 1995 it was time for the next museum exhibition, at Rooseum in Malmö, where Lars Nittve was head and curator. An exhibition at the Kunsthalle Düsseldorf followed in 1998. In 2006, another museum exhibition followed, this time at Dunkers Kulturhus in Helsingborg. Rolf Hanson is one of the most important Swedish artists of his generation. The most comprehensive exhibition to date, spanning four decades of Rolf Hanson’s work, ‘Rolf Hanson Retroactive’, opened in 2021 at Artipelag outside Stockholm. Two of the paintings in this auction were selected to be included in ‘Rolf Hanson Retroactive’, lot 406 ‘Portrait d’une rose’ and lot 339 ‘Figur’.

406. Rolf Hanson, ‘Portrait d’une rose’.

331. Ola Billgren (Sweden, 1940–2001), ‘Stad i regn II’.

Signed Ola Billgren and dated –91 verso. Canvas 250 x 143.5 cm.

Provenance: Galleri Leger, Malmö. Bukowski Auktioner, Moderna Höstauktionen 2003, cat. no 290. Private Collection.

Exhibitions: Rooseum, Malmö, ‘Ola Billgren, till minne’, 12–27 Jan, 2002.

Literature: Douglas Feuk, Anne Ring Petersen ‘Ola Billgren Måleri Paintings’, 2000, ill. p. 213. (d)

Estimate: SEK 300 000 – 400 000 / EUR 28 170 – 37 560

332. Jan Håfström (Sweden, 1937–), ‘The Outsider’.

Signed Jan Håfström and dated 2008. Acrylic on panel 100 x 100 cm.

Provenance: Galleri Brändström Stockholm.

Exhibitions: Liljevalchs Konsthall, Stockholm, ‘Mörkrets hjärta/Heart of darkness’, 18 April – 21 May 2009.

Literature: Mårten Castenfors, Louise Fogelström, Jan Håfström, ‘ Book of the Dead’, Liljevalchs Konsthall, 2009, catalogue no 479. Illustrated on spread p. 120–121. (d)

Estimate: SEK 200 000 – 300 000 / EUR 18 780 – 28 170

333. Jan De Vliegher (Belgium, 1964–), ‘Sea’.

Signed Jan De Vliegher and dated 2007. Canvas 60 x 90. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 700 – 5 640

334. Charlotte Gyllenhammar (Sweden, 1963–), ‘In waiting’.

Signed with monogram and dated –09. Numbered 3/90. Bronze, green patina height 23 cm.

Estimate:

335. Jacob Dahlgren (Sweden, 1970–), ‘Peinture Abstraite (small), numéro quatre–vingt–trois’.

Signed Jacob Dahlgren and dated 2003 on verso. Acrylic on MDF 24.8 x 36 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Estimate:

336. Rolf Hanson (Sweden, 1953–), ‘Figur’.

Signed Rolf Hanson and dated 2000 on verso. Panel 183 x 129.5 cm.

Exhibitions: Artipelag, Värmdö, Sweden, ‘Rolf Hanson Retroactive’, June 4 – November 28, 2021, illustrated in colour p. 89.

Estimate: SEK 250 000

000

337. Karin Broos (Sweden, 1950–), ‘Resan’.

Signed Karin Broos and dated 2008 on verso. Oil on canvas 80 x 105 cm. (d)

Estimate: SEK 175 000 – 200 000 / EUR 16 440 – 18 780

338. Anders Widoff (Sweden, 1953–), From ‘Opera’ No 55.

Signed Widoff. Also signed Anders Widoff and dated 1987–88 on verso. Canvas 200 x 64 cm.

Provenance: Galerie Leger, Malmö. Bukowski Auktioner, Höstens Contemporary 2012, cat no. 313. Private Collection.

Exhibitions: Galerie Leger, Malmö, ‘Opera’, 5 May – 5 June 1988. Metronòme, Barcelona, ‘4 Artistas, 4 Medias’, 4–27 October 1988. Palacio de Sastagò, Zaragossa, ‘4 Artistas, 4 Medias’, 22 November – 18 December 1988.

Sala Parpallo, Valencia, ‘4 Artistas, 4 Medias’, 20 January – 25 February 1989. Liljevalchs Konsthall, Stockholm, ‘Anders Widoff: (att) bära sig’, 16 april – 5 juni 2005.

Literature: Mårten Carstenfors (ed.), Liljevalchs Konsthall, ‘Anders Widoff: (att) bära sig’, 2005, illustrated p. 22–23.

Estimate: SEK 125 000 / EUR 11 740

339. Anders Widoff (Sweden, 1953–), from ‘Opera’ No 65.

Signed Widoff. Also signed Anders Widoff and dated 1988 on verso. Canvas 200 x 64 cm.

Provenance: Galerie Leger, Malmö. Bukowski Auktioner, Höstens Contemporary 2012, cat no. 314. Private Collection.

Exhibitions: Galerie Leger, Malmö, ‘Opera’, 5 May – 5 June 1988.

Metronòme, Barcelona, ‘4 Artistas, 4 Medias’, 4– 27 October 1988. Palacio de Sastagò, Zaragossa, ‘4 Artistas, 4 Medias’, 22 November – 18 December 1988.

Sala Parpallo, Valencia, ‘4 Artistas, 4 Medias’, 20 January – 25 February 1989. Liljevalchs Konsthall, Stockholm, ‘Anders Widoff: (att) bära sig’, 16 April – 5 June 2005.

Literature: Mårten Carstenfors (ed.), Liljevalchs Konsthall, ‘Anders Widoff: (att) bära sig’, 2005, illustrated p. 22–23.

Estimate: SEK 125 000 / EUR 11 740

340. Torsten Andersson (Sweden, 1926–2009), ‘Skulptur’.

Signed Torsten

Estimate:

341. Lars Lerin (Sweden, 1954–), Untitled.

Signed Lars Lerin

dated

342. Martin Wickström (Sweden, 1957–), ‘36 Views of Mount Fuji #35’.

Signed Martin Wickström and dated 2009 on verso. Oil on panel 50 x 50 cm.

Provenance: Angelika Knäpper Gallery, Stockholm. Exhibitions: Angelika Knäpper Gallery, Stockholm,

Literature: Greger Ulf Nilson

Estimate:

343. Jockum Nordström (Sweden, 1963–), ‘The Seven Seas’.

Signed Jockum and dated –07. Graphite on paper 55.5 x 101.5 cm.

Provenance: Galleri Magnus Karlsson, Stockholm. David Zwirner, New York.

Exhibitions: The Irish Museum of Modern Art, Dublin, ‘In Praise of Shadows’, 5 November 2008– 4 January 2009.

Istanbul Museum of Modern Art, Istanbul, ‘In Praise of Shadows’, 22 January – 6 May 2009.

The Benaki Museum, Athens, ‘In Praise of Shadows’, 23 May – 26 July 2009.

Literature: Paolo Colombo, William Kentridge, Metin And e.a, ‘In Praise of Shadows’, 2008, illustrated. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 390 – 11 740

343A. Carl Hammoud (Sweden, 1976–), ‘The Rhetoric & Retrospective’.

Signed Carl Hammoud and dated 2009 verso. Oil on linen 125 x 155 cm. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 740 – 14 090

344. Lena Cronqvist (Sweden, 1938–), Untitled.

SIgned Lena Cronqvist and dated 95. Gouache on paper 45.5 x 61.5 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 760 – 4 700

345. Anders Knutsson (USA, 1937–), Untitled.

Oil and wax on hand made paper 75.5 x 56.5 cm.

Mounted in a box of acrylic glass 82 x 62 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820

347. Roj Friberg (Sweden, 1934–2016), ‘Isländskt landskap’.

Signed Rf and dated –84. Wax crayon on paper 74 x 99 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

346. Rolf Hanson (Sweden, 1953–), ‘Runtom trappa I. Nr 2’.

Signed Rolf Hanson. Monotype, tempera on paper 120 x 91 cm.

Provenance: Hedenius Konsthandel, Stockholm.

Exhibitions: Hedenius Konsthandel, “Rolf Hanson visar Runtom Hus och Trappor, 18 nya målningar 2011–2012”, avbildad s.9 i katalogen (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 700 – 5 640

348. Jarl Ingvarsson (Sweden, 1955–), ‘Den ruttna bananen’.

Signed Jarl Ingvarsson on verso, also signed Jarl and dated 85 on the bottom margin of the canvas. Canvas 115 x 90 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

349. Peter Frie (Sweden, 1947–), Untitled.

Signed Peter Frie

Estimate:

dated

verso.

on wooden panel

x

cm.

350. Matthias van Arkel (Sweden, 1967–), Untitled.

Signed MVA. Platinum silicone rubber, four parts joint together, total measurements ca 110 x 115 cm.

Provenance: Acquired from the artist by the present owner.

Exhibitions: Galleri Andersson/Sandström, Umeå, Sweden, ‘Matthias van Arkel’, 28 April – 20 May 2011.

Literature: Magnus Bons, Sigrid Sandström, ‘Matthias van Arkel’, 2013, illustrated on p. 9. (d)

Estimate:

351. Lukas Göthman (Sweden, 1970–), ‘Everything is nature’.

Signed L Göthman and dated 2008 on verso. Canvas 65 x 54 cm.

Provenance: Roger Björkholmen Galleri, Stockholm. Apotekets art lottery, 2008. Bukowski Auktioner, Moderna Vårauktionen 2009. Privat Collection, Stockholm. (d)

Estimate:

352. Per Fhager (Sweden, 1980 –), ‘The Legend of Zelda: A Link to the Past’.

Signed P.F verso. Executed in

Provenance: Stene Projects, Stockholm.

Estimate:

353. Jim Thorell (Sweden, 1981–), Untitled.

Signed Jim Thorell and dated

Estimate:

verso.

cm. (d)

354. Emanuel Röhss (Sweden, 1985–), ‘That Obscure Object of Desire’.

Signed Emanuel Röhss an dated 2017 verso. Acrylic on alumacore 81 x 154.5 cm. Provenance: Issues, Stockholm. (d)

Estimate:

355. Johannes Heldén (Sweden, 1978–), ‘The Archive chapter II’.

Signed

Estimate:

356. Allen Grubesic (Sweden, 1974–), ‘Composition in Yellow and Blue’. Signed Allen Grubesic and dated 2006 verso. Acrylic on canvas 101 x 100 cm. Provenance: Natalia Goldin Gallery, Stockholm.

Estimate:

357. Linnéa Sjöberg (Sweden, 1983–), ‘Chph’. Signed Linnéa Sjöberg verso. Executed in 2016. From the Salong Flyttkartong project 2012–2014. Collages made of cardboard and spraypaint, 105.5 x 75 cm including frame. Provenance: Belenius, Stockholm.

Martin Wickström

360. Ulrika Wärmling (Sweden, 1970–), ‘Eva in a dress from Ergi by Piratessan

Ulrika

361. Fredrik Wretman (Sweden, 1953–), ‘Goatrans’.

Signed Fredrik Wretman and dated 1997 and numbered 12/35. Polyurethane. Height 83 cm. A white podium accompanies the work. (d)

Estimate: SEK 60

80 000 / EUR 5 640 – 7 520

362. Tommy Hilding (Sweden, 1954–), ‘Sambanden ingen annan förstod’.

Signed Tommy Hilding and dated 2006 on verso. Canvas 60 x 120 cm. Provenance: Galleri Magnus Karlsson, Stockholm. Exhibitions: Galleri Magnus Karlsson, Stockholm, 2006. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 700 – 6 580

363. Jesper Waldersten (Sweden, 1969–), ‘Broke’.

Signed Waldersten. Oil on canvas 140.5 x 96.5 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

363A. Astrid Sylwan

Andreas Eriksson

365. Andreas Eriksson

366. Andreas Eriksson (Sweden, 1975–), Untitled.

Signed AE and dateed 07. Edition 2/5. Bronze, diptych. Height 138 cm and 134 cm.

Provenance: Acquired from the artist. (d)

Estimate: SEK 200 000 – 250 000 / EUR 18 780 – 23 480

368. Marie–Louise Ekman (Sweden, 1944–) ‘Nara–barn och gravsten’.

Signed M.L Ekman and dated 2004. Panel 77 x 94 cm. Including frame 93.5 x 111 cm. (d)

Estimate: SEK 80

367. Lena Cronqvist (Sweden, 1938–), ‘Flicka i badbalja’.

Signed LC and dated 1998. Marked 4. Painted terracotta and sand. Height 19 cm. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 820 – 3 290

369. Dan Wolgers (Sweden, 1955–), ‘Objekt’.

Executed in 1990, edition of 5. Object in aluminum and electrical switch 17 x 11.8 x 5.5 cm.

Provenance: Lars Bohman Gallery. Acquired in 1990. Literature: Pontus Hultén (red.), ‘Dan Wolgers, 120 verk 1977–1996’, 1996, illustrated p. 59. (d)

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

370. Lena Cronqvist (Sweden, 1938–), Untitled.

Signed L.C. and numbered 2/4. Bronze, height 17 cm. (d)

Estimate: SEK 50

371. Ola Billgren (Sweden, 1940–2001), ‘Klassiskt tema’.

Signed Ola Billgren and dated –82 verso. Canvas 150 x 150 cm.

Exhibitions: Rooseum, Malmö, och Moderna Museet, Stockholm, ‘Album Ola Billgren, En retrospektiv’, 14/5–4/8 1991 and 26/10–8/12 1991.

Literature: Douglas Feuk och Anne Ring Petersen,’Ola Billgren, Måleri Paintings’, Bra Böcker och Galerie Leger, 2000, illustrated full page in colour p. 165. Utställningskatalog ‘Album Ola Billgren, En retrospektiv’, 1991, vol I, illustrated full page in colour p. 93. (d)

Estimate: SEK 175 000 – 200 000 / EUR 16 440 – 18 780

372. Linn Fernström (Sweden, 1974–) ‘Mesfångsten’.

Signed Linn Fernström and dated 2005 verso. Canvas 120 x 190 cm.

Provenance: Lars Bohman Gallery, Stockholm. Exhibitions: Lars Bohman Gallery, Stockholm. “Linn Fernström”, 30 August - 28 September 2005.

Literature: Lars Bohman Gallery, ‘Linn Fernström’, 2005, illustrated full page p. 73. (d)

Estimate: SEK 150 000

200

373. Lena Cronqvist (Sweden, 1938–), Untitled.

Signed Lena Cronqvist and dated 2006 on verso. Oil on canvas 51 x 46 cm.

Provenance: Vida Museum & Konsthall, Borgholm. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 390 – 11 740

374. Truls Melin (Sweden, 1958–2022), ‘Mudderverk’.

Painted centafoam. Height 47, width 26 and length 66 cm.

Provenance: Galleri Magnus Åklundh, Malmö. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820

375. 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.

Exhibitions: Galleri Lars Bohman, Stockholm, ‘Tjyvar’, 2 September–1 October 2006.

Literature: Lars Bohman Gallery, exhibition catalogue ‘Tjyvar’, 2006, illustrated full page in colour, p. 59. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 740 – 14 090

376. Peter Frie (Sweden, 1947–), Untitled.

Signed

Estimate:

378. Martin Wickström (Sweden, 1957–), ‘National P’.

Signed Martin Wickström and dated 2009 verso.

Provenance: Galleri Aveny, Gothenburg.

the

Gothenburg,

Estimate:

cm.

377. Lukas Göthman (Sweden, 1970–), ‘Yesterday safe tomorrow nothing like today’.

Signed Lukas Göthman and dated 2006 on verso. Oil on canvas 140 x 160 cm.

Provenance: Roger Björkholmen Gallery, Stockholm.

Estimate:

379. Idun Baltzersen (Norway, 1987–), ‘Looking Down’.

Signed Idun Baltzersen and dated ‘17 verso. Linocut relief 85 x 67 cm.

Provenance: Galleri Magnus Karlsson, Stockholm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

380. Michael Johansson (Sweden, 1975–), ‘Engine Bought

Separately – Hugin II’.

Executed in 2007. Edition 3. Hair dryer, welded metal frame, spray paint 60 x 51.5 x 8 cm.

Provenance: Galleri Arnstedt & Kullgren, Östra Karup. Stockholms Auktionsverk, Bo Siesjö Collection, 29 September 2010, lot 15. Private Collection.

Exhibitions: Pumphusets konsthall, Borstahusen, Landskrona 2007. Wir Sind Woanders, Hinterconti, Hamburg, 2007. Art Copenhagen 2007.

Sieht Rot, Arteversum, Düsseldorff 2008. Galerie Ramakers, den Haag, Neatherlands 2010. Ystads konstmuseum, ‘Utan titel, Bo Siesjös samling av svensk samtidskonst’, 27 March – 16 May 2010. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350

381. Jenny Carlsson (Sweden, 1984–), ‘Heathcliff’.

Signed Jenny Carlsson and dated 2016 verso. Oil on canvas 110 x 140 cm. Provenance: Galerie Forsblom, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 760 – 5 640

382. Roger Metto (Sweden, 1964–), ‘Après Ski’.

Signed Roger Metto and dated 2006

verso. Canvas

(d)

Estimate:

383. Roj Friberg (Sweden, 1934–2016), ‘Besök av minotaur’.

Signed Rf and dated

Provenance:

(d)

Estimate:

384. Fruls Tilpo (Sweden, 1960–), ‘Mellan dröm och verklighet’.

Signed Fruls Tilpo and dated 2001 verso. Oil on canvas 100 x 130 cm. (d)

Estimate:

LOTTA HANNERZ

Hannerz’s inventive art plays with proportions, optical illusions and puns. Her paintings often defy their two–dimensional surfaces and transform into three–dimensional objects. We think we understand what we’re seeing, but she tricks us at every turn as we encounter layer upon layer of intellectual stunts and art historical passes. Hannerz artistic practice is founded on her own ‘free’ relationship with the great master of surrealism, René Magritte and the Dadaist Marcel Duchamp. Yet, she has made her own way in an absolutely unique manner.

Hannerz works with paintings, objects, sculptures and installations. Everything bears the mark of a very personal expression, where the titles add yet another dimension to the experience of the works. Her palette is one of soft and inviting colours. Hannerz’s interiors are inhabited by her characteristic figures, including the balding man in a light–coloured shirt and the woman with round glasses (suspiciously similar to herself). During her time studying at the Royal Institute of Art in Stockholm Hannerz was a ‘Special Student’ to Erik Dietman, whose influence and inspiration can be seen in her work. Not least in the monumental piece Venu?, a large pointing hand that created quite a stir when it was placed in the middle of ‘Strömmen’ (the part of lake Mälaren that runs through the centre of Stockholm), right outside the Royal Palace, for a few months in 2004.

Lotta Hannerz was educated at Konstfack and the Royal Institute of Art in Stockholm. She has had several solo exhibitions, including at Angelika Knäpper Gallery, Stockholm, and Galerie Claudine Papillon in Paris. When Nationalmuseum in Stockholm put on the exhibition of trompe l’oeil work The Deluded Eye – Five Centuries of Deception in 2008, Hannerz’s work was included. She is also represented in several prestigious collections, for example, at Moderna Museet, Malmö Konstmuseum and at the Kunstmuseum in Bonn.

386. Lotta Hannerz, ‘World Maker’.

LIDÉN

Klara Lidén (b. 1979) is an artist who has truly broken through, and is now regularly exhibited internationally. Galleries in Berlin, London and New York represent her and she has already had several important museum exhibitions, including a solo show at the New Museum in New York, curated by Massimiliano Gioni of the Venice Biennale. Furthermore her work has been shown at the Serpentine Gallery in London, at MoMa in New York, at Jeu de Paume and Centre Georges Pompidou in Paris, and at the Venice Biennale.

The art world’s heavyweight curator, Hans Ulrich Obrist, has spoken of her as ‘one of the great artists of the 21st century’.

In November 2013 Klara Lidén was awarded the prestigious Friends of Moderna Museet Sculpture Prize. The jury’s statement read as follows: ‘Klara Lidén is an artist who explores with precision the poetic and political possibilities of a space. Her sculptural works involve the body, architecture and the city in their examinations of the limits of the public and the private. In a number of exhibitions shown across the world she has succeeded in extracting surprising artistic energies from everyday materials and spaces.’

Both in her films and her installations we encounter an artist who refuses to exist in a mundane system and who refuses to be engulfed by societal

and cultural structures. She de–constructs and re–constructs, she removes something from its context and gives it a new dwelling in another place.

Klara Lidén’s work was shown at Moderna Museet for the first time in 2007. She called her exhibition ‘Unheimlich Manöver’. What she did was to empty her flat of its entire contents. Every single thing was packed and pressed together into a gigantic mass, which was then displayed at the museum. After her big international breakthrough, including a special mention at the 2011 Venice Biennale, Lidén had her second exhibition at Moderna Museet in Stockholm. This time she blocked the entrance to the exhibition space, forcing the visitors to go back through the main entry and instead, in order to access the rooms where a comprehensive retrospective exhibition was laid out, enter by a side door. Through seemingly simple methods she guides the viewer down new tracks, often making us realise, with both humour and a certain sense of blushing shame, what creatures of habit we are and how easy it is to upset what we expect of the world around us.

There is a strong sense of vulnerability and honesty in Lidén’s work; without playing games she displaces perspectives and ingrained ideas. It is about the private sphere versus the public, the normative versus the provocative – both in art and in society as a whole.

386. Lotta Hannerz (Sweden, 1968–), ‘World Maker’.

2014.

x

of

bronze

385. Lotta Hannerz (Sweden, 1968–), ‘Culture’.

Signed Lotta Hannerz

x

Estimate:

dated 2008 verso. Polyptyche.

cm

Bohman

387. Astrid Sylwan (Sweden, 1970–), ‘Cirque’.

Signed Astrid Sylwan and date 2006 on verso.

on canvas 160 x 180 cm.

from the

388. Ola Billgren (Sweden, 1940–2001), ‘Klädnad I’.

Signed Ola Billgren and dated –90 on verso. Canvas 190 x 277 cm.

Provenance: Gallery Göran Engström, Stockholm. Fredrik Roos Collection, Stockholms Auktionsverk 2006. (d)

Estimate: SEK 200 000 – 250 000 / EUR 18 780 – 23 480

389. Rolf Hanson (Sweden, 1953–), ‘Utica’.

Signed Rolf Hanson and date –82, made in N.Y on verso. Oil on panel 153 x 117.5 cm.

Provenance: Galerie Nordenhake, Malmö, Sweden. Exhibitions: Lunds Konsthall, Lund, Sweden, ‘6 utställningar’, 1983. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 760 – 5 640

390. Lukas Göthman (Sweden, 1970–), ‘We are forever and never anyway’.

Signed L Göthman and dated 2003 verso. Canvas 120 x 90 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820

391. Lena Cronqvist (Sweden, 1938–), ‘Flicka med nalle’.

Signed LC. Numbered 3/4. Bronze, height 17.5 cm. Provenance: Lars Bohman Gallery, Stockholm.

Estimate:

392. Tommy Hilding (Sweden, 1954–), ‘Fönster’.

Signed Tommy Hilding and dated 2006 on verso. Canvas 60 x 120 cm. Provenance: Galleri Magnus Karlsson, Stockholm. Exhibitions: Galleri Magnus Karlsson, Stockholm, 2006. (d)

Estimate:

393. Matthias van Arkel (Sweden, 1967–), ‘Constant Pressure’.

Signed Matthias van Arkel and dated 2004. Two welded metal tables 85 cm high each with silicone cube signed MvA, 25.5 cm high. Total height: 195.5 cm. (d)

Estimate:

394. Klara Kristalova (Sweden, 1967–), ‘Behind The Great Forest There Was A Small One’.

Signed Klara Kristalova and dated 2013. Watercolour and ink on paper 106.5 x 74.5 cm.

Provenance: Galleri Magnus Karlsson, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 760 – 4 700

396. Lars Lerin (Sweden, 1954–), ‘Måne över Duvnäs’.

Signed Lars Lerin. Watercolour on paper 56.5 x 75.5 cm. Provenance: Fahlnaes Konsthandel, Gothenburg. (d)

Estimate: SEK 130 000 – 150 000 / EUR 12 210 – 14 090

395. Willem Andersson (Sweden, 1980–), ‘Patologiskt nonsen’.

Signed Willem Andersson and dated 2007. Pencil on paper, sheet size 42 x 29.5 cm.

Provenance: Galerie Bel’Art, Stockholm. Galleri Niklas Belenius, Stockholm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130

397. Lina Bjerneld

Signed

Estimate:

398. Dan Wolgers (Sweden, 1955–).

Signed Dan Wolgers

Estimate:

dated

399. Olle Borg (Sweden, 1960–), ‘XXV III/III’.

Signed

Estimate:

400. Jan Håfström (Sweden, 1937–), Untitled.

Signed Jan Håfström and dated 2007. Acrylic on panel 100 x 100 cm. (d)

Estimate: SEK 200 000 – 300 000 / EUR 18 780 – 28 170

401. Martin Wickström (Sweden, 1957–), ‘Welcome To The Jungle (Gn’R)/Österreich’.

Signed Martin Wickström and MW and dated –09 on verso. Oil on canvas 120 x 150 cm.

Provenance: Galleri Aveny, Gothenburg.

Exhibitions: Galleri Aveny, Gothenburg, ‘Martin Wickström, Laura and the Twins’, 24 September 2009–15 November 2009.

Literature: Greger Ulf Nilson (ed.), ‘10_20 Martin Wickström’, 2021, illustrated spread p. 56–57 and listed under the list of works p. 74. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 390 – 11 740

402. Matthias van Arkel (Sweden, 1967–), ‘Growing Nature’.

Signed MvA. Executed in 2008. Silicone rubber and stainless steel ca 144 x 142 cm.

Provenance: Galerie Aronowitsch, Stockholm.

Exhibitions: Galerie Aronowitsch, Stockholm, ‘Silicone Dreams’, 2008.

Literature: Magnus Bons, ‘Matthias van Arkel’, 2013, illustrated full page p. 99. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

403. Alfred Boman (Sweden, 1981–), ‘Sepultura’.

Signed Alfred Boman and dated 2014 on verso. Printed fabric, glue emulsion, enamel varnish, acrylic, spray paint and oil on linen 141 x 101 cm including the artist’s frame. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 760 – 4 700

404. Tommy Hilding (Sweden, 1954–), ‘Still’. SIgned Tommy Hilding and dated 2006 verso. Canvas 110 x 160 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

405. Patrik Andiné (Sweden, 1968–), ‘Tillbaka till livmodern som en struts’.

Signed Patrik Andiné and dated 2004 verso. Canvas 71 x 60 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

406. Rolf Hanson (Sweden, 1953–), ‘Portrait d’une rose’.

Signed Rolf Hanson and dated 2001 verso. Oil on panel 210 x 180 cm.

Exhibitions: Artipelag, Värmdö, Sweden, ‘Rolf Hanson Retroactive’, June 4 – November 28, 2021, illustrated in colour p. 89.

(d)

Estimate: SEK 200 000 – 250 000 / EUR 18 780 – 23 480

408. Martin Jacobson (Sweden, 1978–), ‘Forest Pond’.

Signed Martin Jacobson and dated 2012 verso. Watercolour on paper 66 x 93.5 cm.

Provenance: Andréhn–Schiptjenko, Stockholm.

Exhibitions: Andréhn–Schiptjenko, Stockholm, ‘Martin Jacobson – Landscapes’, 15 May – 19 June 2014.

(d)

Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820

407. Peter Johansson & Barbro Westling (Sweden, 1964–), ‘Smålänningar är snåla’.

Signed Peter Johansson and Barbro Westling and numbered 4/11 verso. Objects mounted in glass box. 22.5 x 22.5 x 45 cm. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 820 – 3 290

409. Ida Ekblad (Norway, 1980–), ‘Brassy Gong’.

Signed I.E. Mixed media, concrete, 100 x 100 x 6.5 cm.

Provenance: Galerie Giti Nourbakhsch, Berlin. (d)

Estimate: SEK 8 000 – 10 000 / EUR 760 – 940

410. Roger Risberg (Sweden, 1956–2011), ‘Baksidan’.

Signed RR and verso signed Roger Risberg. Executed in 1993. Acrylic on canvas 72 x 69.5 cm.

Provenance: Galleri Händer, Stockholm. Private Collection, Stockholm.

Exhibitions: Galleri Händer, Stockholm, ‘Landningen’, September 1993. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 760 – 4 700

411. Sirous Namazi (Sweden, 1970–), ‘Wallobject’.

Signed Sirous Namazi and dated 2002. Silicon. Height ca 170 cm. Provenance: Stockholms Auktionsverk, Bo Siesjö Collection, 29 September 2010, lot 219. Private Collection. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

412. Lars Lerin (Sweden,

Signed Lars Lerin

Estimate:

‘Oslo Natt I’.

413. Roland Persson (Sweden, 1963–), ‘The Half Sofa’. Silicon, steel and fibreglass. Executed 2004. Height 105.5, carpet dimensions

x

Literature:

Provenance:

cm.

Hannula

414. Martin Wickström (Sweden, 1957–), ‘MW V’.

Signed Martin Wickström and dated

Provenance:

Exhibitions:

Estimate:

Bohman Gallery,

cm.

415. Jarl Ingvarsson (Sweden, 1955–), ‘BLÅAD’.

Signed

Estimate:

416. Marie–Louise Ekman (Sweden, 1944–), Untitled.

Estimate:

417. Martin Kozlowski (Sweden, 1984–), ‘Untitled (Bull’s Eye)’.

Signed on the certificate that accompanies the work. Executed in 2015. Spraypaint on canvas 135 x 135 cm.

Estimate:

418. Bella Rune (Sweden, 1971–), Untitled.

Signed Bella

Estimate:

419. Hadrian Pigott (Great Britain, 1961–), ‘Re surface’.

Signed Pigott and numbered 5/10. Executed in 1997. Ceramic and plumbing

Andréhn–Schiptjenko,

cm,

Estimate:

420. Olli Lyytikäinen (Finland, 1949–1987), ‘Vild – Villig’.

Sygned Olli Lyyt. Watercolour on paper 38 x

cm. Provenance: Kaj Forsblom Collection.

Estimate:

421. Olli Lyytikäinen (Finland, 1949–1987), ‘Hand i landskap’.

Signed Olli Lyyt and dated 1978. Watercolour on oaoer 42.8 x 26.4 cm. Exhibitions: Nordiska Akvarellmuseet, ‘Olli Lyytikäinen’, 2 March – 4 May 2014. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

422. Tom of Finland (Finland, 1920–1991), Untitled.

Signed Tom and dated 1986. Marked #151 and TFF091–2 verso. Pencil on paper, sheet 30.5 x 24 cm. Image 22.5 x 20. Provenance: Galleri Pelin, Helsinki. Acquired in 1992 by the present owner. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 520 – 9 390

423. Ståle Vold & Fredrik Vaerslev (Norway, 1951–), ‘Shelf Paintings (Rubbish #11)’.

Executed in 2012. Acrylic, car paint and spray paint on pine with steel hinges and spray–coated steel mountings on construction rubber 141 x 119 x 17.5 cm.

Provenance: Johan Berggren Gallery, Malmö. Exhibitions: Johan Berggren Gallery, Malmö, ‘Ståle Vold and Fredrik Vaerslev: Rubbish’, 2012–13. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 760 – 5 640

424. Georg Gudni (Iceland, 1961–2011), Untitled.

Signed Georg Gudni and dated 2004 verso. Oil on canvas 65 x 50 cm.

Provenance: Galerie Forsblom, Helsinki. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

425. Olli Lyytikäinen (Finland, 1949–1987), Untitled.

Signed Olli Lyyt and dated 21 VI 1983. Charcoal on panel 95 x 70 cm. Provenance: Kaj Forsblom Collection. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 700 – 6 580

426. Georg Gudni (Iceland, 1961–2011), Untitled.

Signed Georg Gudni and dated 2008 verso. Oil on canvas 95 x 200 cm.

Provenance: Galerie Forsblom, Helsinki. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 640 – 7 520

427. Jan Voss

Signed

Estimate:

‘Bis Zum Grundwasser’.

428. Fredrik Vaerslev (Norway, 1979–), ‘Shelf Paintings (Dew Problems) #11’.

Signed Fredrik Vaerslev

Provenance:

Estimate:

dated

429. Klara Lidén (Sweden, 1979–), ‘Untitled (Trashcans)’.

Mixed media.

Estimate:

cm.

paint, house paint,

430. Brian Belott (USA, 1973–), Untitled.

Signed

Provenance:

431. Gerda Scheepers (South Africa, 1979–), ‘Room for paintings’.

Diptych. Executed

432. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘The Brain Has Corridors (Diamond Dog)’.

Signed certificate

silicone,

Estimate:

NATHALIE DJURBERG & HANS BERG

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.

432. Nathalie Djurberg & Hans Berg, ‘The Brain Has Corridors (Diamond Dog)’.

433. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘One Need Not be a House, The Brain Has Corridors’.

Signed certificate included in lot. Executed in 2019. Stop motion animated film, music, 08:10 min. 190 x 1080 Pixels, Aspect Ratio 16:9, stereo. Edition 4/5. Total edition 5 + 3AP.

Provenance: Lisson Gallery, London.

Private Collection, Stockholm.

Exhibitions: Another example exhibited at Moderna Museet, Stockholm, ‘Nathalie Djurberg & Hans Berg’, 16 June – 9 September 2018.

Another example exhibited at Schrin Kunsthalle, Frankfurt, ‘Nathalie Djurberg & Hans Berg’, 28 February – 26 May 2019.

Literature: Lena Essling (red.), ‘Djurberg & Berg’, 2018, film stills illustrated on catalogue cover and p. 1, 4–8 and 176–185. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 740 – 14 090

434. Nathalie Djurberg & Hans Berg (Sweden, 1978–), ‘Sugarlips’.

Signed Nathalie Djurberg. Executed in 2004. Animated film, DVD, 2:44 min. Edition 3/4. Total edition 4 +2 AP.

Literature: Germano Celant, Nathalie Djurberg, ‘Turn into me’, 2009, illustrated on p. 96–97. (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 740 – 14 090

435. Ed Paschke (USA, 1939–2004), ‘Onionskin’.

Signed E. Paschke and dated 71 on verso. Canvas 127.5 x 178 cm.

Provenance: Galerie Bonnier, Geneva.

Deson–Zaks Gallery, Chicago/Robert B Mayer Collection. Private Collection, Geneva.

Exhibitions: The Ackland Art Museum, The University of North Carolina at Chapel Hill.

Estimate: SEK 200 000 – 300 000 / EUR 18 780 – 28 170

436. Martin Soto Climent (Mexico, 1977–), ‘Gossip (Pink Picasso)’.

Signed M on verso. Tights, frame and plexiglass mirror mounted in mahogany box 31 x 21 x 10 cm.

Provenance: Andréhn–Schiptjenko, Stockholm.

Exhibitions: Andréhn–Schiptjenko, Stockholm, ‘Martín Soto Climent – Gossip’, 5 March – 2 May 2020.

Estimate: SEK 30 000 – 35 000 / EUR 2 820 – 3 290

437. Arman (Armand Pierre Fernandez) (France, 1928–2005), ‘Demeter’ (From Gods and Goddesses).

Signed Arman and numbered 5/8, 1986. Sculpture, bronze, green patina, total height 131 cm.

Exhibitions: Lunds Konsthall, Galleri GKM, June, 1989.

Literature: Lunds Konsthall/Galleri GKM, ‘Arman’, exhibition catalogue, 1989, illustrated p. 83. (d)

Estimate: SEK 200 000 – 250 000 / EUR 18 780 – 23 480

438. Jim Nutt (USA, 1938–), ‘Tooth’.

Signed Jim Nutt and dated 1990–91 verso. Acrylic on canvas in painted artist’s frame 59 x 59 cm.

Provenance: Galerie Bonnier, Geneva.

Exhibitions: Galerie Bonnier, Geneva, ‘Jim Nutt’, 1992.

Estimate: SEK 1 500 000 – 1 800 000 / EUR 140 850 – 169 020

JIM NUTT

Jim Nutt was born in Massachusetts, USA, in 1938. After graduating from the Art Institute of Chicago in 1965 he formed, together with his fellow artists Gladys Nilsson, Art Green, Suellen Rocca, Jim Falconer and Karl Wirsum, the artist group ‘Hairy Who?’. The group was active between 1966 and 1969, and they are considered part of the ‘Chicago Imagists’. A product of its time, in a USA of student revolts, reactions against the Vietnam War, political murders and a consumption society, the ‘Hairy Who?’ group became recognised in Chicago and went on to exhibit nationwide. In 1972 Nutt was selected to represent USA at the Venice Biennale. The following year he participated in the Whitney Biennial and in the exhibition Made in Chicago, which was shown at the Sao Paolo Biennial and later toured South America, Washington and Chicago. These shows turned Nutt into an important internationally recognised artist.

By the early 1980s his painting took a new turn – he reduced his scale and limited his colour palette and number of figures in each of his compositions. Around 1987 he found the style of painting that he then devoted the next thirty–five years to, with paintings that consisted only of a single motif – portraits of imagined women. Nutt has a very small production, only painting one portrait a year. The portraits reference renaissance painting, and Nutt’s work is distinctive for the very particular noses and exaggerated hairstyles of his figures. The piece in the auction, Tooth, from 1990–91, is a typical portrait by Nutt with the hair and the characteristic nose, which in its style alludes to both cubism and renaissance portraiture.

438. Jim Nutt, ‘Tooth’.

CHRISTO & JEANNE–CLAUDE

The artists Christo (1935–2020) and Jeanne–Claude (1935–2009) worked together for over 50 years. Their enormous and astounding art projects of city and landscape elements made them world–famous. They mastered the whole creative process from idea and documentation to realization.

Before the projects were realized in full size, the artistic idea emerged in preparatory sketches, collages, drawings, and scale models. These works of art made in Christo's studio should be considered the most important steps in the creative process. All these steps have their own value and document the artistic development of the projects. The work in the auction Surrounded Islands (project for Biscayne Bay, Greater Miami, Florida) from 1983 is one such original work. It was possible to view the temporary project

Surrounded Islands, which included eleven islands outside of Miami, for two weeks. 603,870 m2 of floating pink woven polypropylene fabric extended sixty–one metres out into the water from each of the islands. In order to keep the pink fabric taut, pipes were attached to the outer edges, which in turn were secured by anchors. In total 610 specially–made anchors were used, placed at fifteen metre intervals. The work covering the eleven islands began on the 4th of May 1983. There were 430 people working on finishing the project, which was completed on the 7th of May 1983. Christo and Jeanne–Claude had already begun the preparatory stages in 1981 and it was funded entirely by the sale of their own art. They did not accept sponsorship money or other external funding, which was the case for all of the artist couple’s collaborative projects.

443. Christo and Jeanne–Claud, ‘Surrounded Islands (project for Biscayne Bay, Greater Miami, Florida)’.

REYLE

Anselm Reyle, born 1970, lives and works in Berlin. He studied at the Staatliche Akademie der Bildenden Künste in Stuttgart and Karlsruhe. In 2009 after having taught at art schools in Berlin, Hamburg and Karlsruhe he became professor of drawing and painting in Hamburg.

Reyle’s art is distinguished by the materials he works with. His paintings, sculptures and installations are constructed from ready–made materials and objects that he, both visually and contextually, transposes and modifies. These can include foil and plastics from shop windows, car paint, plexiglass, neon tubes and plastic waste, which he joins together in abstract works that combine the materials with painting. The glossy, reflective surfaces have become come one of his greatest trademarks. In his ‘stripe paintings’ he combines material and colour in vertical stripes. He plays with the surfaces’ different materialities and expressions, often inserting breaks in the seemingly ordered and well–structured forms of the stripes. The foil having creases that interrupt the straight lines is a recurrent detail in his work, as is the unexpected splashes of colour. What from a distance resembles straight and ordered stripes has, when seen close up, a different life and structure. These series of works really reveal Reyle’s delight in and fasci-

nation for the unlimited number of combinations that a simple pattern can be repeated in. Even the black–painted steel frame is part of the artist’s vision. Other well–known series in Reyle’s artistic practice include his ‘foil paintings’, where he places metallic, shimmering plastic foil in see–through plexiglass boxes. The exciting three–dimensional shapes are eye–catching like deliciously coloured candies. In his sculptures he has worked with both bronze and ceramics, always gravitating towards strong, bright colours and shiny hard surfaces.

Together with his team he has created large–scale installations with monumental hanging mobiles in metal, neon tube installations and large ceramic urns for his latest solo exhibitions at Kunsthalle Vogelmann/Kunstverein Heilbronn (open until the 23rd October 2022), Aranya Art Center, Qinhu angdao, China (2020), Galerie Almine Rech in Brussels and at König Galerie Berlin (2017), amongst other places.

Works by Anselm Reyle are included in the Pinault Collection, Venice, Sammlung Boros and Daimler Collection in Berlin, as well as in the Centre Pom pidou and Fondation Louis Vuitton, both in Paris.

439. Marcel Dzama (Canada, 1974–), Untitled.

Signed Marcel Dzama. Ink and watercolour on paper 35.5 x 28 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Estimate:

440. Stefan Hirsig (Germany, 1966–), ‘Der Kopf der Bewegung’.

Signed and dated 2010 verso. Canvas 170 x 140 cm.

Estimate:

441. Bjarne Melgaard (Norway, 1967–), ‘Untitled (Kermit as Tyrannosaurus Rex, Jurassic Park)’.

Signed Bjarne Melgaard and dated 2010 on verso. Canvas 200 x 200 cm.

Provenance: Lars Bohman Gallery, Stockholm. Stockholms Auktionsverk, Nutida 2014, cat no. 56. Privat Collection, aquired from the above.

Estimate:

442. James Brown (USA, 1951–2020), Untitled.

Signed James Brown and dated 1985 NY on verso.

Partly glazed ceramic 55 x 44 cm.

Provenance: Anders Tornberg Gallery, Lund.

Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410

443. Christo and Jeanne–Claud, (USA, 1935–2020), ‘Surrounded Islands (project for Biscayne Bay, Greater Miami, Florida)’.

Signed Christo and dated 1983. Diptych. Collage on panel, pencil, charcoal, crayon, pastel, map and bic pen. Mounted with plexiglass, 71.8 x 56.7 cm and 71.8 x 28.7 cm.

Provenance: Acquired in 1983 by the present owner.

Estimate: SEK 600 000 – 800 000 / EUR 56 340 – 75 120

444. Anselm Reyle (Germany, 1970–), Untitled.

Signed Anselm Reyle and dated 2007. Acrylic, silver foil, plexi glass on canvas 137.7 x 116.5 cm including the steel frame.

(d)

Estimate: SEK 500 000 – 600 000 / EUR 46 950 – 56 340

445. Donald Baechler (USA, 1956–2022), ‘Reclining figure’.

Signed D.B and dated 90 and numbered 3/5. Bronze 28.3 x 28.3 cm. A podium, not original, accompanies the work

Provenance: Tornberg Gallery, Lund.

Estimate:

446. Ross Bleckner (USA, 1949–), Untitled.

Signe RB on verso. Canvas 91.5 x 91.5 cm.

Provenance: Wetterling Gallery, Stockholm.

x 38 x 38 cm.

447. Henryk Stazewski (Poland, 1894–1988), Untitled.

Signed H. Stazewski and dated 1979 on verso. Acrylic on fiberboard 38 x 38 cm.

Provenance: Private Collection, New York.

International Auctions LCC, Avon, CT, USA, June 2021.

the

Estimate:

by the present owner.

448. Justin Adian (USA, 1976–), ‘Pressing’.

Signed Justin Adian and dated 2018 verso.

enamel

ester

Provenance: Loyal Gallery, Stockholm.

Exhibitions: Loyal Gallery, Stockholm,’Justin Adian,

26 September

Estimate:

450. Veronika Pausova (Czech Republic, 1987–), ‘Dividers’.

Signed Veronika Pausova and dated 2017 verso. Canvas

Provenance: Andréhn–Schiptjenko, Stockholm.

Estimate:

x

449. Jesse Greenberg (USA, 1982–), ‘Body Scan’.

Signed Jesse Greenberg anddated 2015 verso. Resin, pigment, wooden panel and painted steel frame 90 x 57.5 cm.

Provenance: LOYAL Gallery, Stockholm.

Estimate:

cm.

451.

Signed

Provenance:

452. Domenico Bianchi

Signed

453. Qu Fengguo (China, 1966–), Untitled.

Signed Qu Fenggou and dated 2011 verso. Mixed media on canvas 100 x 80 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 700 – 5 640

454. Francesco Clemente (Italy, 1952–), ‘Riso, Pianto’.

Signed Francesco Clemente and dated 1981. Diptych. Watercolor on paper each 56 x 70 cm.

Provenance: Anders Tornberg Gallery, Lund. Stockholms Auktionsverk, Nutida, 15 May, 2013, lot. no. 449. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 690 – 1 880

455. Hollis Sigler (USA, 1948–2001), ‘She tried Disposing of the evidence’. Executed in 1981. Craypas on paper 83 x 68 cm. Provenance: Barbara Gladstone Gallery, New York. Estimate: SEK 18 000 – 20 000 / EUR 1 690 – 1 880

455A. Ron Gorchov (USA, 1930–2020), ‘Untitled, #20’.

Signed Ron Gorchov and dated © RON GORCHOV 1980 on verso.

Mixed media on papier-mâché, convexly shaped and pressed 69 x 59 cm.

Reinforced on the back with two wooden rods. Mounted in plexiglass box 75.5 x 65.5 x 20.5 cm.

Provenance: Private Collection, Gothenburg..

Estimate: SEK 200 000 – 250 000 / EUR 18 780 – 23 480

456. Diti Almog (Israel, 1960–), ‘5 P.M SP.MR’.

Signed Diti Almog and dated 2001 on verso. Oil on panel 46 x 53.5 cm.

Estimate:

457. Diti Almog (Israel, 1960–), ‘5:00 P.M. SSR’.

Signed Diti Almog and dated 2001 on verso. Oil on panel 23 x 26.7 cm.

Estimate: SEK

760

457A. Karl Larsson (Sweden, 1977–), ‘Clipped Square Tangram Paradox’.

Silkscreen, 2013. Unique. 38 x 68 cm.

Provenance: Galerie Nordenhake, Stockholm.

Exhibitions: ‘Cut up, written over and eventually recovered’, Galerie Nordenhake, January 10 – February 10, 2013. (d)

Estimate:

458–459. Withdrawn.

460. Karin Mamma Andersson (Sweden, 1962–),

Diptych.

461. Karin Mamma Andersson (Sweden, 1962–), Untitled.

Woodcut

Signed Karin Mamma

462. Karin Mamma Andersson (Sweden, 1962–), Untitled.

Woodcut

colours,

Mamma

BANKSY

The British artist Banksy has gone from painting illegal street art in Bristol to becoming one of the most famous people in the world. All while managing to keep his real identity hidden. Most people believe he is a man, born somewhere near Bristol around 1974, but theories have also been put forward that it is a group of artists collaborating under a single pseudonym.

His artworks are often satirical, with an emphasis on politics, culture and ethics. He is socially–politically involved and, amongst other things, funds his own ship helping refugees fleeing across the Mediterranean Sea. His work repeatedly interrogates the art market itself, and together with his collaborators he has staged a number of happenings where, for example, he has sold his artworks cheaply on the street.

Today he can be described as one of our most important contemporary icons. It seems that the more he takes a stand, the more popular he gets. Banksy continually succeeds in putting his finger on society’s sore points – be it the monarchy, environmental issues or mass consumption. Ever since his art, which is a mix of graffiti and stencils, first began appearing in the United Kingdom in the 1990s he has managed to stay current. Like no other contemporary artist Banksy succeeds in identifying the big, burning questions of our time. Each work turns society’s authority figures and power positions on their heads, and we never know where in the world his next artwork will emerge.

For this autumn’s auction Bukowskis has been entrusted with the sale of several important works by Banksy.

464. Banksy, ‘Soup Can’.

463. Banksy, ‘Monkey Queen’.

Banksy, ‘Golf Sale’.

Banksy, ‘Sale Ends Today’.

463. Banksy (Great Britain, 1974–), ‘Monkey Queen’.

Screenprint in colours, 2003, numbered 304/750. S. 49 x 34.5 cm. Published by Pictures on Walls, London. This lot has been authenticated by Pest Control Office and is accompanied by a certificate of authenticity. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 090 – 18 780

464. Banksy (Great Britain, 1974–), ‘Soup Can’.

Screenprint in colours, 2005, signed and numbered 25/50 in pencil. S. 50 x 35 cm. Published by Pictures on Walls, London (with their blindstamp). This lot has been authenticated by Pest Control Office and is accompanied by a certificate of authenticity. (d)

Estimate: SEK 400 000 – 600 000 / EUR 37 560 – 56 340

465. Banksy (Great Britain, 1974–), ‘Golf Sale’.

Screenprint, 2003, numbered 611/750 in pencil, stamped with the BANKSY tag in red ink. S. 34.8 x 50 cm. Published by Pictures on Walls, London. This lot has been authenticated by Pest Control Office and is accompanied by a certificate of authenticity. (d)

Estimate: SEK 200 000 – 300 000 / EUR 18 780 – 28 170

466. Banksy (Great Britain, 1974–), ‘Sale Ends Today’.

Screenprint in colours, 2017, signed in pencil, dated and numbered 352/500, published by Pictures on Walls, London (with their blindstamp). S. 56 x 76 cm. This lot is accompanied by a certificate of authenticity issued by Pest Control Office.

Provenance: Acquired by the current owner at Raffle on Pictures on Walls, London, 2017.

467. Jean–Michel Basquiat (After) (USA, 1960–1988), ‘Amateur Bout’. Facsimile–edition of Jean–Michel Basquiats notebook, published 1989 by Vrej Baghoomian Gallery, New York. Numbered 0673 from the edition of 1000. 25 x 19.8 cm.

Estimate:

468. Christo & Jeanne–Claude (USA, 1935–2020), ‘Orange Store Front, Project’.

Color lithograph with collage of fabric, wrapping paper, staples, acetate plastic and galvanized iron. Signed Christo and numbered 71/100. Printed by Landfall Press, Chicago, published by Leif Holmer Gallery, Nässjö / Claes Distner Gallery, Karlshamn 1991. 70 x 82 cm including plexi box.

Provenance: Leif Holmer Gallery, Nässjö. Literature: Schellmann/Benecke 157.

Estimate: SEK

000

469. (USA, 1935–2020), ‘Wrapped Opera House (Project for the Opera House in Sydney, Bennelong, Australia).

Lithograph in colours with collage of cloth, thread, city map, two photographs and masking tape, 1991, signed and numbered 32/120. S. 77 x 63 cm. Published by Carl Flach.

Estimate: SEK 80 000

100 000 / EUR 7 520 – 9

470. David Hockney (Great Britain, 1937–), ‘In Despair’, from ‘Illustrations for Fourteen Poems from C.P. Cavafy’. Etching, 1966, on Crisbrook handmade paper, signed dated and numbered 47/75 in pencil. Proofed and printed by Maurice Payne and Danyon Black at the Alecto Studio, published by Editions Alecto. P: 35 x 22.5 cm. S. 55.5 x 39.5 cm.

Literature: Scottish Arts Council 57. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

471. David Hockney (Great Britain, 1937–), ‘Brooke Hopper’. Lithograph, 1976, signed and dated in pencil 15/92, published by Gemini G.E.L., and with their blindstamp. S. 96,5 x 71,5 cm.

Literature: Scottish Arts Council 177. (d)

Estimate: SEK

472. Damien Hirst (Great Britain, 1965–), ‘H10–2 Nūr Jahān’, from: ‘Empresses’.

Laminated Giclée print on aluminum composite panel, screen printed with glitter, 2022. Signed on label verso. Published by Heni Productions, London. Edition 1326/3041. 100 x 100 cm. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 820 – 3 290

473. Damien Hirst (Great Britain, 1965–), ‘Butterfly Rainbow’.

Laminated Giclée print on aluminium composite panel, 2020, digitally signed on label verso, numbered 640/1497, Published by HENI Editions. 78 x 78 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

474. Patrick Hughes (Great Britain, 1939–), ‘Mondrian’.

3D lithographic multiple with hand–colouring mounted in plexi, 1998. Signed Patrick Hughes and numbered 20/35. Published by Flowers Gallery, London. 40 x 74 x 19.5 cm. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 390 – 14 090

475. Carsten Höller (Germany, 1961–), ‘Black Canary’ from the series ‘Canaries’.

Photogravure, 2010. Signed, dated and numbered EA VI/VII in pencil. From an edition of 20 + 7 EA. Photogravure. I. 40.6 x 28.8 cm. S. 52 x 37.5 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 760

476. Withdrawn

477. Roy Lichtenstein (USA, 1923–1997), ‘Mirror #5’.

Lithograph and screenprint, 1972. Signed and dated in pencil, numbered 70/90. Printed and published by Gemini G.E.L, Los Angeles, with their blind stamp. I. 87 x 61.6 cm, S.111 x 84.5 cm (Arjomari paper).

Literature: Corlett 110.

Estimate: SEK 60 000 – 80 000 / EUR 5 640 – 7 520

478. Tracey Moffatt

479. Takashi Murakami (Japan, 1962–), ‘Mr. Dob by Bait’. Cast vinyl sculpture, 2016. With ComplexCon and BAIT stamp under. From an edition of 750. Height 24 cm. Original box included.

480. Takashi Murakami (Japan, 1962–), ‘When I Close My Eyes, I See Shangri–la’.

Offset

silver pen

with silver,

I.

481. Takashi Murakami (Japan, 1962–), ‘The Creative Mind’.

Offset lithography with silver foiling, 2015. Signed in silver pen and numbered

Estimate:

482. Julian Schnabel (USA, 1951–), ‘Leaf’. Aquatint on velvet, 1984. From the edition of 5. Signed and dated on overlap on verso. 122 x 92 cm.

Provenance: Parasol Press, New York.

Estimate:

483. Frank Stella (USA, 1936–), ‘Shards II’.

Lithograph and screenprint in colour. Signed, dated 82 and numbered 36 /100 in pencil. S. 100 x 115 cm. Published by Petersburgs Press, New York. Literature: Axsom 145.

Estimate:

484.

485. Andy Warhol

renaissance

Screenprint

Literature:

Estimate:

from:

WARHOL

The famous portfolio with Andy Warhol’s three portraits of Ingrid Bergman was first published in 1983 by Galerie Börjeson in Sweden. Warhol’s fascination with Hollywood superstars is well known. Earlier in his career he had produced a number of portraits of film stars using different techniques. On the folder’s flyleaf Per–Olov Börjeson describes a meeting between himself and the artist in which the idea of the portfolio came about:

‘At our meeting in the fall of 1982 we discussed these very ‘Warholian’ portraits and whilst talking about the stars of the cinema Ingrid Bergman’s name was brought up. […] It was during this conversation that the idea of a series of graphic prints to honor the memory of a great artist whom we both admired, was born. […]

In these three prints we meet a new Andy Warhol. Gone is the very deliberate sense of distance that characterized the earlier portraits. Objective, and almost documentary in their lack of personal judgment, they are portraits of roles played rather than lives lived by people. The three portraits of Ingrid Bergman, however, reveal Andy Warhol’s personal feelings and unbounded admiration for a woman and actress that he knew. The titles of the three prints are: ‘The Nun’ (from ‘The Bells of St Mary’s’), ‘With hat’ (from ‘Casablanca’) and ‘Herself’. This last title reveals just how far Andy Warhol has gone. Beyond the portrait of a star–role to a statement of undisguised, personal feeling in a portrait which is so strikingly beautiful as to reveal the mutual kinship between two great artists.’

486. Andy Warhol, ‘Herself’, from: ‘Three portraits of Ingrid Bergman’.

486. Andy Warhol (USA, 1928–1987), ‘Herself’, from: ‘Three portraits of Ingrid Bergman’.

Screenprint in colours, 1983, signed

pencil

numbered

Printed by Rupert Jasen Smith, New York. Published by Galerie Börjeson, Malmö. 96.5 x 96.5 cm.

Literature: Feldman & Schellmann

Estimate:

487. Andy Warhol (USA, 1928–1987), ‘With Hat’, from: ‘Three portraits of Ingrid Bergman’.

Screenprint in colours, 1983, signed in pencil and numbered 234/250, printed by Rupert Jasen Smith, New York, published by Galerie Börjeson, Malmö, Sweden. I./S. 96,5 x 96,5 cm.

Provenance: Galerie Börjeson, Malmö.

Literature: Feldman & Schellmann

Estimate:

488. Withdrawn

489. Andy Warhol (USA, 1928–1987), From the series ‘Hans Christian Andersen’.

Screenprint in colours, 1987, with the artist’s stamped signature and signed by the executor of the Andy Warhol Estate, the publisher and the printer in pencil on the reverse, numbered 19/25. S. 96.5 x 96.5 cm. Printed by Rupert Jasen Smith, New York, published by Art Expo Danmark, Odense.

Literature: Feldman & Schellmann

490. Andy Warhol (USA, 1928–1987), From the series ‘Hans Christian Andersen’.

Screenprint

colours,

artist’s stamped signature and signed by the

of the Andy Warhol Estate, the publisher and the printer in pencil on the

by

19/25.

Expo Danmark, Odense.

by Rupert Jasen Smith, New York,

491. Andy Warhol (USA, 1928–1987), From the series ‘Hans Christian Andersen’.

Screenprint in colours, 1987, with the artist’s stamped signature and signed by the executor of the Andy Warhol Estate, the publisher and the printer in pencil on the reverse, numbered 19/25. S. 96.5 x 96.5 cm. Printed by Rupert Jasen Smith, New York, published by Art Expo Danmark, Odense.

Schellmann

492. Andy Warhol (USA, 1928–1987), ‘Frölunda Hockey Player’.

Screenprint in colours, 1986, signed in pencil and numbered 53/100, printed by Rupert Jasen Smith with his blind stamp, New York, published by Art Now Gallery, Gothenburg. I./S. 100 x 80 cm.

Feldman & Schellmann II. 366.

493. Andy Warhol (USA, 1928–1987), ‘Mao’.

Silkscreen in colours, 1972, signed with ball point pen and numbered with rubber stamp 112/250 on verso, printed by Styria Studio, Inc., New York, published by Castelli Graphics and Multiples, Inc., New York. I./S.

Literature: Feldman

Estimate:

494. Ai Weiwei (China, 1957–), ‘Bombs’.

Offset lithograph, 2019. Certificate signed by the artist and numbered 19/500 + 50 AP. Published by Mildred Lane Kemper Art Museum, Washington University, St. Louis. 183 x 122 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880

495. Rachel Whiteread (Great Britain, 1963–), ‘Herringbone Floor’.

Laser–cut relief in birch plywood, 2001, signed in pencil, dated, titled, numbered 154/450, published by Counter Editions, London, in the original mount (as issued). I: 35 x 30 cm. With frame, 56,5 x 49,5 cm. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 690 – 1 880

496. Withdrawn.

Bukowskis auctions

autumn 2022

Made in Sweden

Viewing Sept 3–9 | Auction Live Sept 9

BLÅ – A Life Estate

Viewing Sept 28 – Oct 3 | Auction Live Oct 4 Design Sale Helsinki Auction Online only Oct 19–30

Important Timepieces

Viewing Oct 21–25 | Auction Live Oct 26

Contemporary Art & Design

Viewing Oct 21–25 | Auction Live Oct 26

Modern Art + Design

Viewing Nov 10–15 | Auction Live Nov 16–17

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Viewing Dec 1–6 | Auction Live Dec 7–9

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D045: Sept 5–7 | D046: Oct 3–5

D047: Nov 7–9 | D048: Dec 12–14 All beverage auctions are Online only

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