Contemporary Art & Design 646

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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 Photographs & Contemporary Art

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

Specialist Prints

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

Cover: Karin Mamma Andersson, “Objekt”. Back: Mats Theselius, chair “Inox”, ed. 1/199, Källemo, post 2015. Niklas Runesson, coffee table, unique, 2021. Jonny Johansson , sofa “Nya Berlin”, Studie No 5, Acne Studios, AB O.H. Sjögren Tranås 2011.

13.Jonny Johansson, a ‘Studie No 1’, easy chair, Acne Studios, O.H. Sjögren, Tranås, Sweden 2010. 148. Matthew Hilton, a ‘Balzac’ armchair, SCP, England, post 1991.

2. Christer Chytraeus (Sweden, 1985–) a glass vase, Konstfack, Stockholm 2008.

Black tinted glass with a frosted surface, signed C. Chytraeus 08, height 24.5 cm, diameter ca 24.5 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720 (d)

1. Gustaf Westman (Sweden, 1993–) a ‘Pocorn’ mirror, executed in his own studio, Stockholm, 2020.

Frame of foam, signed Gustaf Westman 2020, height ca 80 cm, width ca 68 cm.

Estimate: SEK 4 000 – 6 000 / EUR 360 – 540

3. Per Brandstedt (Sweden, 1952–) a bench / sculpture, ‘I sing the body electric 4’, Studio Per Brandstedt, Sweden 2018. Burnt oak, stainless steel, height 45 cm, length 265 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

4. Ellen Ehk Åkesson (Sweden, 1976–) ‘Kingdom’ a ceramic sculpture, executed in her own studio, Sweden 2013.

Glazed in green and pink hues, signed Ellen Ehk Åkesson 2013, height 17 cm, length 16.5 cm, width 11.7 cm.

Estimate: SEK 3 000 – 4 000 / EUR 270 – 360 (d)

5. Per B Sundberg (Sweden, 1964–) a stoneware sculpture/ candlestick, Sweden 2013.

In the shape of a poodle with a candleholder on its back, brown, green and cream coloured glaze, length 21 cm height 26 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

6. Fredrik Paulsen (Sweden, 1980–) a unique ‘Bamba’ chair, prototype, 2014.

Solid pine, comes with a brown sheepskin, height 80 cm.

Provenance: Örnsbergsauktionen, 2014.

Literature: Pictured in the catalogue of the Örnsbergsauktionen, 2014.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

6. Fredrik Paulsen, a unique ‘Bamba’ chair, prototype, 2014. Right: 11. Niklas Runesson, a unique wall mirror, ed. 1/1, executed in his own studio, Stockholm 2022.

8. Erik Olovsson (Sweden) a unique ‘Drill Vase #43’ Studio E.O., his own studio, Stockholm 2020.

‘Viola Arabescato’ marble, brown semi transparent glass, signed EO20, height 28 cm, 30 x 16 cm.

Estimate: SEK 3 000 – 4 000 / EUR 270 – 360

7. Erik Olovsson (Sweden) & Kyuhyung Cho, a ‘Roomcollection-shelf’, Studio E.O., his own studio, Stockholm 2020.

9 pcs and a mirror, pine, height 88 cm, width 118 cm, depth 30 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

9. LAST, (Åsa Jungnelius, Gustaf Nordenskiöld och Fredrik Paulsen) (Sweden, 2014–) an installation comprising five studio works / objects, Sweden 2014.

Tray by Fredrik Paulsen of pine in colours, ca 51 x 51 x 51 cm.

A cup and a knife by Gustaf Nordenskiöld in glazed ceramics, marked Gustaf Sweden and LAST, height of the cup 8 cm.

Obelisque and a bowl of blown glass by Åsa Jungnelius, the one marked LAST. Height 9,5-12,5 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720 (d)

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

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

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

11. Niklas Runesson (Sweden, 1985–) a unique wall mirror, ed. 1/1, executed in his own studio, Stockholm 2022. Sculpted American walnut, led lighting to the reverse, signed Niklas Runesson 1/1 2022, height 162 cm, width 68 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

12. Jonny Johansson (Sweden, 1969–) a ‘Nya Berlin’, Studie No 5, sofa, Acne Studios, O.H. Sjögren, Tranås, Sweden 2011.

Upholstered in a brown/yellow velvet, wooden legs, maker's mark, length 270 cm, seat height ca 35 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

14. Claesson Koivisto Rune (Sweden, 1995–) a unique sofa table, ‘Brasilia’, Swedese, post 2002. This table is a special commission made of elm. Height 28 cm, 120 x 120 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

13. Jonny Johansson (Sweden, 1969–) a ‘Studie No 1’, easy chair, Acne Studios, O.H. Sjögren, Tranås, Sweden 2010. Upholstered in a light blue fabric, Width 94 cm, depth 155 cm, height 84 cm, seat height 44 cm.

Estimate: SEK 10 000 – 15 000 / EUR 900 – 1 340

15. Claesson Koivisto Rune (Sweden, 1995–) a carpet, ‘Palm Leaf’, tufted, ca 241 x 174 cm. Edition Ruckstuhl, designed in 2013.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

16. Claesson Koivisto Rune (Sweden, 1995–) a carpet, ‘Palm Leaf’, tufted, diameter 200 cm. Edition Ruckstuhl, designed in 2013.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

18. Johan Linton (Sweden, 1966–) an ‘Object Énigme – un hommage à Jacques Derrida’, ed. 2/7, Källemo, Sweden post 2005.

Stainless steel, laser cut message hidden in the sides, maker's mark Un hommage à Jacques Derrida & Johan Linton Källemo, height 76 cm.

Estimate: SEK 10 000 – 15 000 / EUR 900 – 1 340

17. Claesson Koivisto Rune (Sweden, 1995–) a ‘Frame’ tea trolley, Sfera, Japan, 2005. Brushed stainless steel frame, handle with bamboo, white corian tops, 95 x 60 cm, höjd 72 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

19. Eric Ericson (Sweden, 1972–) a ‘Gustaviansk’ mirror for Firma Svenskt Tenn, Sweden post 2000. White lacquered mdf, height 115 cm, width 45 cm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

20. Gustaf Nordenskiöld (Sweden, 1966–) a unique sculpture ‘R.P.M Pale Temple’, 2014.

Turned porcelain, signed, height 39 cm, diameter 16 cm.

Exhibitions: Exhibited at the solo show, Biennale Internationale de Vallauris – Création contemporaine et céramique in France 2014.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

21. Claesson Koivisto Rune (CKR) (Sweden, 1995–) a carpet, ‘Bredband, gräsgrön’, flat weave, ca 273 x 214 cm, signed AB MMF MC EK OR.

(AB Märta Måås-Fjetterström, Claesson Koivisto Rune) Designed in 2006. Woven by Birgitta Helgesson and Linnea Blomgren

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

22. Love Hultén (Sweden, 1984–) an arcade video game console, ‘Pixelkabinett 42’, the first pre edition of the ed. 50, executed in his own studio 2015.

The cabinet made in green painted ash, panels of American walnut. The game comprising ca 30 arcade vintage video games, game computer is run by a Raspberry Pi, signed Love Hultén, height ca 162 cm.

Provenance: A special commission for a tattoo studio in Gothenburg, Sweden.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

23. Alexander Lervik (Sweden, 1972–) a ‘Red Chair’, ed. 6/10, Gallery Pascale 2005.

Made from seven red lacquered steel rods, maker's mark the red chair Gallery Pascale 6/10 Design by Alexander Lervik 2005, height 71 cm.

Provenance: Proveniens. Bukowskis, Contemporary Art & Design 631, 2021, cat. no. 43. Exhibitions: ‘Five playful chairs’, Gallery Pascale, Stockholm 2005.

Literature: Modern furniture: 150 years of design = Meubles modernes : 150 ans de design = Moderne möbel : 150 jahre design, Updated ed., H.F. Ullmann, Potsdam, 2012, p. 75. Lervik, Alexander & Nova Beatrice, Hanna, 15 x years, 15 x photographers, 15 x chairs, Arvinius + Orfeus, Stockholm, 2013.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

24. Johan Lytz (Sweden, 1975–) a unique cabinet, Sweden 2011. Base lacquered in rasberry red, perspex doors, oversized handle in black stained wood, height 183 cm, width 139 cm, depth 39 cm,

Provenance: Custom designed for LinkDetails office in Stockholm 2011.

Estimate: SEK 10 000 – 15 000 / EUR 900 – 1 340

25. Fredrik Paulsen (Sweden, 1980–) Kristoffer Sundin and Simon Klenell, 4 chairs, made exclusively for the restaurant Omnipollo in Gothenburg Sweden, 2018.

Pink lacquered metal, seats in green coloured wood, seat height 45 cm, height 86 cm.

Provenance: The ‘Omnipollo’ restaurant in Gothenburg, Sweden.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

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

Made by Kasthall Ateljé for Linum. Wool. Glued on labels at the back, No: 363803

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

27. Ann Wåhlström (Sweden, 1957–) a glass vase, ‘Bulb XIII’, Tacoma glass studio, Seattle, USA, 2006. Drop shape, signed Ann Wåhlström XIII M.O.G 2006. Height 66 cm.

Provenance: Galleri Mårtenson & Persson, Stockholm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

28. Ann Wåhlström (Sweden, 1957–) a unique glass vase ‘Spots I’, Tacoma, Seattle, USA 2015.

Drop shaped and decorated with aubergine brown spots against clear glass, signed Ann Wåhlström SPOTS I 2015 MOG, height 45 cm, diameter 29 cm.

Provenance: Galleri Mårtenson & Persson, Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

29. Ernst Billgren (Sweden, 1957–) a bench, ‘Tjyvar’, ed. 25/51, Sweden 2006.

Oak, details in green glass mosaic, marked and numbered Ernst Billgren 25/51, height 44,5 cm, length 100 cm, width 40 cm.

Provenance: Galleri Lars Bohman, Stockholm, ‘Tjyvar’, 2 September1 October 2006. Custom made for the exhibition.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

30. Ernst Billgren (Sweden, 1957–) a chandelier, this model was created as a gift for the the Crown Princess couple, executed by Reijmyre, Sweden 2010. Four glass globes in white and transparent glass decorated with daffodils and legs of mallards, bodies of mallards in multicoloured glass, brass fixture, signed Ernst Billgren. Height ca 72 cm, diameter ca 92 cm. Shown on request.

Provenance: Acquired directly from Reijmyre.

Estimate: SEK 150 000 – 175 000 / EUR 13 380 – 15 620

35. Jan Ekselius, an easy chair and ottoman, ‘Etcetera’, J.O. Carlssons Möbel AB, Vetlanda, Sweden, 1960–70s. 316. Eva Hild, Untitled, signed Eva Hild and dated 02. 298. Clay Ketter, ‘Was Is’.

32. Uno Westerberg (Sweden, 1914–1985) a pair of table lamps, model ‘15773’, Arvid Böhlmarks Lampfabrik, Sweden, 1960s–1970s. Glass base, square stem with black leather, shades with a white fabric, maker's mark and number 15773, height 40 cm, including the shades 58 cm.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

31. Arne Norell (Sweden, 1917–1971) an ‘Ari’ easy chair and ottoman, Norell Möbel AB, Sweden. Brushed steel base, cushions and head pillow upholstered in black leather, label marked, height ca 77 cm, seat height ca 28-36 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570

33. Anders Pehrson (Sweden, 1912–1982) ‘Bumling’, a coffee table for Atelje Lyktan, Sweden 1960–70s.

Base in white lacquered aluminium, top in white transparent plastic with light socket inside, height 48 cm, diameter 89 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

Iron base lacquered in white, chrome plated tubular steel, white lacquered shade, maker's mark, adjustable height, total height 175 cm.

Estimate: SEK 4 000 – 5 000 / EUR 360 – 450

Green lacquered tubular steel, green original

heigth ca 40 cm, height 97 cm.

Estimate: SEK 4 000 – 6 000 / EUR 360 – 540

covered in corduroy,

Beige textile. Length 50–105, width 65, height 40–78 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

34. Anders Pehrson (Sweden, 1912–1982) a floor lamp ‘Simris’, Ateljé Lyktan, Sweden 1960-70s.

35. Jan Ekselius (Sweden, 1946–) an easy chair and ottoman, ‘Etcetera’, J.O. Carlssons Möbel AB, Vetlanda, Sweden, 1960–70s.

36. Börge Lindau (Sweden, 1932–1999) & Bo Lindekrantz, an easy chair and ottoman, ‘S70-6’, Lammults Möbel AB, Sweden 1960–70s.

seats

seat

Boda Trä Erik Höglund, height 33-39 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

Sweden, the 1940's-60's. A label is sewn at the back.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

37. Viola Gråsten (Finland, 1910–1994) a carpet ‘Ormbunke’. Knotted pile, 160 x 124 cm, for NK Textilkammare.

38. Erik Höglund (Sweden, 1932–1998) two stools, Boda Trä, Sweden 1960–70s.

Birch bases, red leather girths, one with maker's mark

39. Eje Ahlgren (Sweden) a pair of floor lamps, model ‘G-075’, Bergboms, Sweden 1960-70s. Brass, shades with white lacquer to inside, maker's mark Bergboms G-075, height 130 cm.

40. Eje Ahlgren (Sweden) a pair of brass table lamps, model ‘B-075’, Bergboms, Sweden, 1960-70s.

Maker's mark Bergboms B-075. Height 52 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

41. Marianne von Münchow (Sweden, 1917–2016) a carpet, knotted pile, ca 153 x 141 cm, signed MvM SH. (Marianne von Münchow, Svensk Hemslöjd). A polychrome modernistic composition.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720 (d)

Polished brass, for six lights, amber coloured glass, maker's mark Hans Agne Jakobsson T580/H, diameter 52 cm, height 37 cm, total height ca 120 cm.

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680

42. Hans-Agne Jakobsson (Sweden, 1919–2009) an ‘Estrella’ ceiling lamp, model T580/H, Markaryd, Sweden 1960-70s.

Brass,

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

Brass,

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

43. Hans-Agne Jakobsson (Sweden) a pair of, ‘Sonata’ chandeliers, model T-434/10 Hans Agne Jakobsson AB, Markaryd, Sweden 1960–70s.

10 amber coloured glass shades, maker's mark, height ca 80 cm.

44. Hans-Agne Jakobsson (Sweden, 1919–2009) a table lamp, model ‘B142’, Hans-Agne Jakobsson AB, Markaryd, 1960–70s.

shades lacquered in white to the interior, maker's mark, height 34 cm.

45. Hans-Agne Jakobsson (Sweden, 1919–2009) a table lamp, model ‘B142’, Hans-Agne Jakobsson AB, Markaryd, 1960–70s. Brass, shades lacquered in white to the interior, maker's mark, height 33 cm.

Brass, 24 smoke coloured glass shades, height ca 270 cm, a stem extension is included à 220 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

Brass, 24 smoke coloured glass shades, height ca 270 cm, a stem extension is included à 220 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

Brass, three cylindrical shades in smoke tinted glass, maker's mark Hans Agne Jakobsson AB, Markaryd, ‘V169-5’, height 44 cm, width ca 28 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

46. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of, ‘Sonata’ chandeliers, model T-434/24, Hans Agne Jakobsson AB, Markaryd, Sweden 1960–70s.

47. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of, ‘Sonata’ chandeliers, model T-434/24, Hans Agne Jakobsson AB, Markaryd, Sweden 1960–70s.

48. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of wall lamps, model ‘Sonata’, ‘V169-3’, Hans Agne Jakobsson AB, Markaryd, 1960–70s.

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

A design in green, red and black by Olle Baertling. The carpet is produced by Asplund in connection with the Baertling-stiftelsen (the Baertling-foundation) after a painting. It is tufted in India around 1999. ‘Erey’ is produced in 50 examples. A label at the back.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

50. Hans-Agne Jakobsson (Sweden, 1919–2009) a ceiling light ‘C769 4 P/Selectra’, Hans Agne Jakobsson AB, Markaryd Sweden 1960–70s.

Brass and white lacquered metal, maker's mark Hans Agne Jakobsson Markaryd AB C769 4 P, width 42 x 42 cm, height 80 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

51. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of wall lamps, model ‘Sonata’, ‘V169-5’, Hans Agne Jakobsson AB, Markaryd, 1960–70s.

Brass, five cylindrical shades in smoke tinted glass, maker's mark Hans Agne Jakobsson AB, Markaryd, ‘V169-5’, height 64 cm, width ca 48 cm.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

52. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of wall lamps, model ‘Sonata’, ‘V169-5’, Hans Agne Jakobsson AB, Markaryd, 1960–70s.

Brass, five cylindrical shades in smoke tinted glass, maker's mark Hans Agne Jakobsson AB, Markaryd, ‘V169-5’, height 64 cm, width ca 48 cm.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

53. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of ‘T606-3’, ceiling lamps, Hans Agne Jakobsson AB, Markaryd, 1960's.

Brass, three shades with fringes, maker's mark ‘T606-3’, Hans Agne Jakobsson AB, height 23 cm, diameter 45 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

54. Jan Ekselius (Sweden, 1946–) a modular sofa, ‘Etcetera Modul’, J.O. Carlssons Möbel AB, Vetlanda, Sweden 1960–70s.

3 straight and 3 angled modules, elements of urethane, blue textile cover, black plastic feet, each module ca 68 cm wide, total length ca 400 cm, height 65 cm, seat height 30-35 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

56. Claesson Koivisto Rune (CKR) (Sweden, 1995–) a carpet, ‘Forell, Norrskensblå’, flat weave, ca 223 x 212 cm, signed AB MMF MC EK OR.

(AB Märta Måås-Fjetterström, Claesson Koivisto Rune) Designed 2006. Woven by Birgit Svensson.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

55. Jan Ekselius (Sweden, 1946–) a pair of lounge chairs, ‘Etcetera’, J.O. Carlssons Möbel AB, Vetlanda, 1960–70s. Blue textile, seat height ca 42 cm, height 69 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

57. Uno & Östen Kristiansson (Sweden, 1925–2009) a model 406 teak and steel table mirror, Luxus, Vittsjö, Sweden 1960s, with original cardboard package. Height ca 54 cm, diameter of the mirror 45 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

58. Karl Erik Ekselius (Sweden, 1914–1998) a rosewood veneered dining table, J.O. Carlssons Möbel AB, Vetlanda, 1960–70s.

Maker's mark JOC Karl Erik Ekselius, diameter 130, height 69 cm.

Literature: Pictured in catalogue.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

Label marked. Height 51 and 52.5 cm excluding the shades in an off-white fabric. Total height with the shades ca 74 and 75 cm.

Estimate: SEK 10 000 – 15 000 / EUR 900 – 1 340

59. Tito Agnoli (Italy 1931–2012), a set of 6 chairs, La Linea, Italy, post 1957.

Base in rosewood, seats with black leather, rattan to back, seat height 43, height 76 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

60. Carl Fagerlund (Sweden, 1915–2011) two glass and brass table lamps, model ‘RD 1986’, Orrefors Sweden, 1960–70s.

62. Arne Norell (Sweden, 1917–1971) an ‘Ari’ easy chair and ottoman, Norell Möbel AB, Sweden.

Brushed steel base, cushions and head pillow upholstered in brown leather, label marked, height ca 77 cm, seat height ca 28-36 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 130 – 3 570

61. Arne Norell (Sweden, 1917–1971) an ‘Ari’ easy chair and ottoman, Norell Möbel AB, Sweden.

Brushed steel base, cushions and head pillow upholstered in brown leather, label marked, height ca 77 cm, seat height ca 28-36 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 130 – 3 570

63. Jonas Bohlin (Sweden, 1953–) a ‘Concrete’ armchair, ed. 35/100, Källemo, Värnamo, Sweden post 1981. Concrete and iron, signed 35/100 jONAS BOHLIN, height 90 cm, width 49 cm, depth 57 cm, seat height 45,5 cm.

Estimate: SEK 150 000 – 200 000 / EUR 13 380 – 17 850 (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680

Maple, adjustable black lacquered plywood shelves, maker's stamp ‘JK’, height 202 cm, width 20 cm, depth 28.5 cm.

Provenance: Sten Ingvar Nilsson.

Long-term principal of Ädelfors Folkhögskola and the one who equipped the school with significant art and design. Sten Ingvar Nilsson was a good friend of Sven Lundh (Källemo).

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

Wood

in green, red and white, one door, signed ‘Kasper’ 12/50 JK, and a blurred text: Till Sten Ingvar din Sven L (Sven Lundh) 1989, height 61 cm.

Provenance: Sten Ingvar Nilsson.

Long-term principal of Ädelfors Folkhögskola and the one who equipped the school with significant art and design. Sten Ingvar Nilsson was a good friend of Sven Lundh (Källemo).

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720 (d)

64. Jonas Bohlin (Sweden, 1953–) a runner, ‘Kosmos’, hand tufted, Kasthall, ca 288 x 72 cm. Sweden, around the year 2000.

65. John Kandell (Sweden, 1925–1991) ‘Solitär’, a cabinet, Källemo, Sweden post 1986.

66. John Kandell (Sweden, 1925–1991) a ‘Kasper’ object/ cabinet, ed. 12/50, Källemo, Sweden post 1989.

painted

68. Erik Höglund (Sweden, 1932–1998) a 72 pieces glass service, Strömbergshyttan, Sweden 1990.

Clear glass, the foot decorated with red and black sprirals, signed Erik Höglund EH 1990 Sg Strömbergshyttan Hg-Lp-Mg.

12 beer glasses/ goblets (height 26-27 cm)

12 large wine glasses (height ca 27 cm)

12 wine glasses (height ca 20-20.5 cm)

12 sherry glasses (height ca 20 cm)

12 shot glasses (height ca 19.5 cm)

12 water glasses (height ca 15 cm)

Provenance: Carl-Axel Valén (1928-2010), reportedly made to order, directly from the artist.

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680 (d)

67. John Kandell (Sweden, 1925–1991) a wall cabinet, probably a prototype to ‘Arkitektskåpet’, that Källemo executed in an edition of 190, Sweden, post 1989.

Red lacquered wood, one door with lock, signed JK, height 55 cm, width 25 cm, depth 21 cm.

Provenance: Sten Ingvar Nilsson. Long-term principal of Ädelfors Folkhögskola and the one who equipped the school with significant art and design. Sten Ingvar Nilsson was a good friend of Sven Lundh (Källemo).

Estimate: SEK 4 000 – 6 000 / EUR 360 – 540 (d)

69. Reino Björk (Sweden, 1952–) a large glass bowl, New York 1998. Checkered decoration with black and white ovals against a clear glass ground, signed Reino Björk N.Y 1998. Diameter 38 cm, height 24 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720 (d)

70. Arne Rickardt (Sweden, 1937–) an armchair, ‘Pascal’, no. 14, Dux, Sweden, post 2002.

Perspex base, seat and back in transparent plastic with springs, maker´s mark DUX No 14, seat height 40 cm, height 80 cm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

72. Mats Theselius (Sweden, 1956–) a cabinet, ed. 11/50, from the serie ‘Körsbärstjuven’, Move, Sweden 21st century. Handpainted alder, decorated with carved and coloured details with motif of a blackbird, espagnolette in patinated steel, glassed doors and sides, marked with label Mats Theselius Move 11/50, height 220 cm, width 88 cm, depth 42 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

71. Jonas Bohlin (Sweden, 1953–) ‘À Table’, dining table, Firma Svenskt Tenn, Sweden, post 2014. White lacquered metal, oiled ash top, leather and brass details, height 74 cm, width 100 cm, length 180 cm + two leaves à 55 cm, total length 290 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

73. Mats Theselius (Sweden, 1956–) a ‘National Geographic’ cabinet by Källemo, no 65, Sweden, 1990.

Wood, lacquered in National Geographic yellow, glass doors, base in beech wood, brass details, maker's mark Mats Theselius 1990 Produced by Källemo AB Sweden nr 65. Height 171 cm, width 57.5 cm, depth 22 cm

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

74. Mats Theselius (Sweden, 1956–) ‘Canapé’, ed. 34/35, Källemo, post 1991.

Lacquered steel, red leather and walnut, marked with label and numbered 34/35, Length ca 130 cm, height 75 cm, seat height 46 cm.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

75. Mats Theselius (Sweden, 1956–) an ‘el Rey’ armchair, ed. 37/360, Källemo, Sweden, post 1999.

Brass and black leather, signed ‘el Rey by Mats Theselius 1999 Nr: 37/360 copies for Källemo, Sweden’, seat height 31-36 cm.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

76. Mats Theselius (Sweden, 1956–) an ‘el Rey’ armchair, ed. 252/360, Källemo, Sweden, post 1999.

Brass and black leather, signed ‘el Rey by Mats Theselius 1999 Nr: 252/360 copies for Källemo, Sweden’, seat height 31-36 cm.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

78. Love Arbén (Sweden, 1952–) an ‘Ono’ cabinet for Lammhults, Sweden 1995.

Cabinet in birch, base in black lacquered metal, maker's mark, height 134 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

77. Mats Theselius (Sweden, 1956–) a ‘Jägermeister’ sofa, Källemo, Sweden post 1996.

Mahogany, green wool textile seat and back, height 73 cm, length 152 cm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

80. Sigurdur Gustafsson (Iceland, 1962–) an easy chair / sculpture, ‘Wind’, ed. 30/33, Källemo, Sweden, post 2003.

Patinated metal, seat made of a patinated metal net, maker's mark ‘Wind by Sigurdur Gustavsson 2003 no 30/33 Källemo Ab Sweden’, height 67 cm, width 67 cm, length 67 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

79. Eva Hild (Sweden, 1966–) a unique red glazed stoneware sculpture, ‘Bulig’, Sparsör, Sweden 2002. Signed EVA HILD 02, length 30 cm, height ca 13,5 cm.

Provenance: Galleri Bacchus, Borås, Sweden, October 2002.

Bukowskis Contemporary Art & Design, May 2018, sale 606, lot 26.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

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

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

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

82. Claesson Koivisto Rune (CKR) (Sweden, 1995–) a carpet, ‘Forell, Cerise’ flat weave, ca 250 x 200 cm, signed AB MMF MC EK OR.

(AB Märta Måås-Fjetterström, Claesson Koivisto Rune) Designed in 2006. Woven by Birgit Svensson.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

83. Mats Theselius (Sweden, 1956–) An ‘El Dorado’ easy chair, ed. 288/360, Källemo, Sweden, post 2002. Brass, natural brown leather, birch, maker's mark ‘EL DORADO by Mats Theselius 2002 No 288/360 KÄLLEMO AB SWEDEN’, height 78 cm, seat height 47 cm, width 65 cm.

Estimate: SEK 50 000 – 75 000 / EUR 4 460 – 6 690 (d)

84. Fredrik Mattson (Sweden, 1973–) ‘TBC (The Black Chair Collection)’ chair, no 17/22, Blå Station, Sweden 2008. Gilt wood with a carved detail of a heart, marked with label Design

Fredrik Mattson Blå Station 2008, gilt and signed by Pontus Tunander nr 17 2008, seat height 38 cm, height 75 cm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900 (d)

89. Mats Theselius, an ‘Inox’ armchair, ed. 1/199, for Källemo, Sweden post 2015. 414. Yae Asano , ‘No 83’.

Left: 127. Ettore Sottsass, a ‘Tahiti’, table lamp, Memphis, Milan, post 1981.

86. Mats Theselius (Sweden, 1956–) an ‘Hommage à Sigurd Lewerentz’ armchair, ed. 18/123. Källemo, Sweden, post 2012.

Patinated copper, ebony and steel frame, woven textile. Maker's mark ‘HOMMAGE A SIGURD LEWERENTZ MATS

THESELIUS NO 18/123 KÄLLEMO SWEDEN 2012’, height 74 cm, seat height 40 cm.

The copper derives from the St Petri Church, Klippan Sweden by the architect Sigurd Lewerentz. The church was erected in 1962-1966. The limited amount of copper available made a limitation of 123 + 6 chairs.

Estimate:

85. Mats Theselius (Sweden, 1956–) a ‘Theselius Rex’ easy chair, ed. 187/200, Källemo, post 1995.

Steel, metal plated frame, upholstered with brown leather, maker's mark THESELIUS REX Mats Theselius No 187/200 KÄLLEMO AB VÄRNAMO SWEDEN, height ca 70 cm, seat height ca 41 cm.

Estimate: SEK 60 000 – 70 000 / EUR 5 360 – 6 250 (d)

87. Mats Theselius (Sweden, 1956–) an ‘Hommage à Sigurd Lewerentz’ armchair, ed. EA 4/6 Källemo, Sweden, post 2012. Patinated copper, ebony and steel frame, woven textile, maker's mark: HOMMAGE A SIGURD LEWERENTZ MATS THESELIUS NO EA 4/6 KÄLLEMO SWEDEN 2012. Height 75 cm, seat height ca 42 cm.

The copper derives from the St Petri Church, Klippan Sweden by the architect Sigurd Lewerentz. The church was erected in 1962-1966. The limited amount of copper available made a limitation of 123 + 6 chairs.

Estimate: SEK 90 000 – 100 000 / EUR 8 030 – 8 920 (d)

88. Mats Theselius (Sweden, 1956–) & Andreas Roth, unique, ‘The Object unit – A Poetry in Steel, Glass, Stone, Wood and Plastic’ Minus 10, Sweden 2010. Five separate blocks of brass, corian, glass, oak and Swedish marble, opens to all four directions, signed En Poesi i Stål Glas Sten Trä och Plast för Minus 10 Mats Theselius Andreas Roth 2010, height 90 cm, 100 x 140 cm.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920

90. Mats Theselius (Sweden, 1956–) an ‘Inox’ armchair, ed. 197/199, for Källemo, Sweden post 2015.

Polished steel, white soaped oak and white nubuck leather, maker's mark ‘Aluminium chair 25th Anniversary Inox no 197/199 Mats Theselius Källemo 2015’, height 72.5 cm.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

89. Mats Theselius (Sweden, 1956–) an ‘Inox’ armchair, ed. 1/199, for Källemo, Sweden post 2015.

Polished steel, white soaped oak and white nubuck leather, maker's mark ‘Aluminium chair 25th Anniversary Inox no 1/199

Mats Theselius Källemo 2015’, height 72.5 cm.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

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

Walnut feet, three drawers in black stained wood, brass linings and handles, maker's mark ‘Attila Suta Kunglig Hovleverantör’, height 80 cm, width 90 cm, depth 40 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570

91. Ove Feuk (Sweden) a chest of drawers, Nordiska Kompaniet 1960–70s.

Black lacquered wood, brass details and handles, marked with drawing number 103-89, samt 3323, height 88,5 cm, width 72 cm, depth 46 cm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

93. Attila Suta (Sweden, 1976–) a pair of ‘Sulla chairs’, executed in his own workshop, Stockholm 2022. Walnut, seats covered in linen fabric, maker's mark, height 83 cm, seat height ca 47 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

94. Eero Saarinen (Finland, 1910–1961) a circular calacatta marble top table and six chairs, ‘Tulip’, Knoll International, probably 1960s.

The table with a white lacquered base, marked Knoll. Diameter 120 cm, height 72,5 cm. The chairs with cushions. Height 81 cm, seat height including the cushion ca 48 cm.

Provenance: Bror Thornberg (1919-2013), an architect active in Malmö. Thence by descent.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

96. Yrjö Kukkapuro (Finland, 1933–) a ‘Karuselli’ easy chair, Haimi, Finland 1970s.

White swivel base in fibreglass, details i chrome plated metal, upholstered in dark brown leather, maker's mark, seat height ca 30 cm, height ca 91 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

95. Leena-Kaisa Halme (Finland, 1940–) a carpet, ‘Kuutamo’ (Månsken). knotted pile, ca 176 x 119 cm, Osakeyhtiö Neovius, Finland.

A polychrome modernistic composition. With a sewn-on label at the back.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

98. Eero Aarnio (Finland, 1932–) ‘Ball chair’, Adelta, Finland. Shell of fibreglass, aluminum base, polyurethane foam cushions, upholstered with red fabric, label marked, height 120 cm, seat height ca 32–40 cm, width 110 cm.

Estimate: SEK 30 000 – 35 000 / EUR 2 680 – 3 130

97. Yrjö Kukkapuro (Finland, 1933–) a ‘Karuselli’ easy chair, Haimi, Finland 1970s.

White swivel base in fibreglass, details i chrome plated metal, upholstered in dark brown leather, maker's mark, seat height ca 30 cm, height ca 91 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

99. Victor Vasarely (France, 1906–1997) a carpet ‘Capella 4’ hand tufted, ca 178 x 175 cm, Oy Finnrya, numrerad 13/250, signed V.

Designed in 1970. A signed label at the back.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070 (d)

100. Eero Saarinen (Finland, 1910 – 1961) a ‘Tulip’ dining table, Knoll International, 2017.

Oval Arabesco marble table top, white lacquered base, maker's mark ‘Knoll Studio Eero Saarinen 1956’ 2017, height 73 cm, width 136 cm, length 245 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

102. Hans J Wegner (Denmark, 1914–2007) an ‘Ox-Chair’ and ottoman for Erik Jørgensen, Denmark, post 1961. Black leather and metal base, marked with label ‘Ox Chair’ Hans J Wegner Erik Jørgensen, height 91 cm, height of ottoman 35 cm.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460

101. Mario Bellini (Italy, 1935–) a set of 6 chairs, model ‘412, CAB’, Cassina, Italy post 1977. Black leather, seat height 45 cm, height 81 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

104. 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 6 690 – 8 920

103. Björn Wiinblad (Denmark, 1918–2006) a ‘Hurricane’, chandelier, Denmark ca 1970.

Brass, 8 glass shades, height ca 95 cm, diameter ca 80 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

105. Jens Quistgaard (Denmark, 1919–) a Brazilian rosewood ‘Stokke’ coffee table, Nissen Langaa, Denmark 1960–70s. Circular top with Brazilian rosewood veneer, base in chrome plated steel, maker's mark Nissen Langaa Danmark IHQ, height 46 cm, diameter 118 cm.

Provenance: Richard Nissen

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

Acrylic

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

Chrome plated metal wire frame, white laminate top with aluminium edge, maker's mark Fritz Hansen 1988, height 65 cm, diameter 75 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

106. Verner Panton (Denmark, 1926–1998) a pair of ‘Wire Cone Chairs’, Fritz Hansen, Danmark 1989. Chrome plated metal wire frame, blue textile seat and neck cushion, maker's mark Fritz Hansen 1989, height 75 cm, seat height ca 40 cm.

107. Verner Panton (Denmark, 1926–1998) a ‘Wire Cone Table’, Fritz Hansen, Denmark, 1988.

108. Verner Panton (Denmark, 1926–1998) a pair of Cone chairs, no. 22 & 23, model ‘VP 01 typ C’, Polythema, 1994.

back with black stripes, chrome plated base, seat covered in a red textile from Kvadrat, maker's mark Verner Panton Nr 0022 & 0023, Polythema, height 86 cm, seat height 46 cm.

110. Jan Bocan (Czech Republic, 1937–2010) a pair of easy chairs, Thonet, provenance the Czechoslovakian embassy in Stockholm 1972.

Base in red lacquered wood, seat i textile, back and sides in rattan, markings from the embassy, seat height ca 40 cm, height 71 cm.

Provenance: Czechoslovakian embassy in Stockholm, 1968–72.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

109. Verner Panton (Denmark, 1926–1998) a high back lounge chair, ‘System 1-2-3 model K’, Fritz Hansen, Denmark, ca 1973. Wooden base, red wool upholstery with buttons, metal details, height ca 105 cm, längd ca 130 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

111. Jan Bocan (Czech Republic, 1937–2010) a coffee table, Thonet, provenance the Czechoslovakian embassy in Stockholm 1972.

Base in red lacquered wood, glass top, height 40 cm, 90 x 90 cm.

Provenance: Czechoslovakian embassy in Stockholm, 1968–72.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

112. Jan Bocan (Czech Republic, 1937–2010) a free standing bar, from the Czechoslovakian embassy in Stockholm 1972. White lacquered wood, chrome plated metal, drawers and cabinets, height ca 88 cm, length ca 130 cm, width 80 x 80 cm.

Provenance: Czechoslovakian embassy in Stockholm, 1968–72.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

114. Olivier Mourgue (France, 1939–) a pair of easy chairs, Airborne International, France, post 1968.

Chrome plated tubular steel, seats covered in textile, height 62 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

113. Wilhelm Vest, ‘Dynamic’, a ceiling lamp, Austria, 1960s. Metal shades, lacquered in different hues of blue, red and yellow, maker's mark Made in Austria, height 44 cm.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

115. Robert & Trix Haussmann (Switzerland, 1931–) a ceiling lamp, Swiss Lamps international, Switzerland, 1970s.

Metal base with blackened details, 7 sockets, height including bulbs ca 50 cm, diameter including bulbs ca 50 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

116. Michel Ducaroy (France, 1925–2009) a sofa, ‘Togo’, Ligne Roset, France 21st Century.

Upholstered in a black leather, maker's mark Ligne Roset Made in France, height ca 70 cm, width ca 130 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

117. Michel Ducaroy (France, 1925–2009) a pair of easy chairs, ‘Togo’, Ligne Roset, France, 21st Century.

Upholstered in a black leather, maker's mark Ligne Roset Made in France, height ca 70 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

Polished stainless steel, maker's mark, height 195 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

119. Jean-Marie Massaud (France, 1966–) a ‘Terminal 1’ chaise longue for

Black leather seat, base in black lacquered metal, maker's mark B&B Italia Jean-Marie Massaud Terminal 1. Seat height 36–44, length 203 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570

118. William Brand & Annet van Egmond (Netherlands) a pair of ‘Broom’ floor lamps by Brand van Egmond, post 2001.

B&B Italia, post 2008.

120. Raphaël Raffel (France, 1912–2000) a pair of easy chairs, France, 1970s.

Yellow plastic, pink textile upholstery, seat height ca 30 cm, height 64 cm.

122. Oscar Tusquets Blanca (Spain, 1941–) a set of 8 oak chairs, ‘The Gaulino Chair’, Carlos Jane, Spain, first edition ca 1987-1988.

Sculptured oak, leather seat, maker's mark Carlos Jane mod Design Gaulina Oscar Tusquets Blanca Made in Spain, seat height 47 cm, height 85 cm.

Provenance: Aquired at CBI interior, Stockholm ca 1989.

Estimate: SEK 75 000 – 100 000 / EUR 6 690 – 8 920

121. Andrée Putman (France, 1925–2013) an executive desk, limited edition Ecart International, Paris ca. 1986.

White stained oak with hemispherical top, central writing space and drawer covered with green leather, two inclined boxes with three drawers with metal handles, signed with monogram, height 72 cm, width 250 cm, depth 100 cm.

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680

123. Alessandro Pianon (Italy, 1931–1984) a ‘Pulcino’ glass bird, Vistosi, Murano, Italy 1960s. Orange glass body, copper legs, height 22 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570

124. STUDIO A.R.D.I.T.I., a ‘B.T. Lamp’, Sormani Spa, Italy ca 1971.

Base in wood and metal, a metal bow with two lamps, magnetic fixture to the base, maker's mark Sormani Lampada B.T. STUDIO

A.R.D.I.T.I.,height ca 46 cm.

Literature: Duccio Trassinelli founded the ’ Studio A.R.D.I.T.I.’ in 1970. With the other members of the group, he developed objects with original features and a new philosophy of use, some of which have been shown in numerous national and international exhibitions.

The B.T. serie includes a wall lamp, (B.T.1), a table lamp (B.T.2) and a floor lamp (B.T.4).

Produced by Sormani Spa.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

125. Ernesto Gismondi (Italy, 1931–) a pair of wall / ceiling

‘Sintesi’ lamps, Artemide, Italy, 1970's.

Metal, black and green lacquered, adjustable shade, length 90 cm or 158 cm.

Original boxes included.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

126. Ettore Sottsass (Italy, 1917–2007) a ‘Cantone’ sideboard / shelf, 2 pcs., Memphis, Milano 1981.

Bacterio laminate, black lacquered wood and chrome plated tubular steel legs, height 60-120 cm, width ca 65 x 65 cm/each.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

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

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

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

128. Ettore Sottsass (Italy, 1917–2007) two glazed ceramic vases, Bitossi Ceramiche, Montelupo, Italy 20th century.

Signed E Sottsass Bitossi Montelupo, height 23.7 and 36.5 cm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

129. Michele De Lucchi (Italy, 1951–) an ‘Oceanic’, lamp, Memphis, Milan, post 1981.

Polychrome lacquered metal, one lamp, maker's mark ‘Memphis Milano Michele De Lucchi 1981 Made in Italy, height 76,5 cm, length 85 cm.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

130. Piero Fornasetti (Italy, 1913–1988) a ‘Scimmie & Co’ chest of drawers, Fornasetti, Italy, Milano 2018. White lacquered wood, decorated with printed pattern of leaves and monkeys, three drawers, chrome plated feet and handles, glass top, maker's mark Fornasetti Made in Italy Milano, height 84 cm, width 100 cm, depth 55 cm.

Estimate: SEK 150 000 – 200 000 / EUR 13 380 – 17 850

131. Piero Fornasetti (Italy, 1913–1988) a ‘Libri’ paper basket, Fornasetti, Milano, Italy 2020.

Hand-silkscreened, painted, and lacquered metal, with a brass top edge and feet, maker's mark FORNASETTI MILANO MADE IN ITALY N 13/2020 MF. Height 28,5 cm, diameter 26 cm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

132. Piero Fornasetti (Italy, 1913–1988) an ‘Architettura’ umbrella stand, Fornasetti, Milano, Italy 2022.

Hand-silkscreened, painted and lacquered metal, with a brass top edge and feet, maker's mark FORNASETTI MILANO MADE IN ITALY N 9/2022, height 58 cm, diameter 26 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

133. Gio Ponti (Italy, 1891–1979) a contemporary 12 light chandelier, for Venini, Italy.

Gold plated metal base with multi coloured glass arms, the green central bowl signed Gio Ponti per Venini, height ca 83 cm excluding the chain, diameter ca 88 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

135. Lirio by Philips, ‘Nick-Knack’, a pair of floorlamps, The Netherlands, 21st Centiury.

Plastic base, adjustable shape and height, maker's mark, total height 165 cm.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

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

Upholstered in a red wool fabric, foldable arm and foot rest, base in black lacquered metal, maker's mark, seat height 40 cm, height folded, 78 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

139. Gaetano Pesce, ‘Indian Summer’, a soft resin vase for Fish Design, Corsi Design, Italy post 2010. 135. Lirio by Philips, ‘Nick-Knack’, a pair of floorlamps, The Netherlands, 21st Centiury. 427. Karin Davie, ‘Between My Eye and Heart No 23’. 145. Edward Barber & Jay Osgerby, a ‘Tobi-ishi, Rectangular table’ B&B Italia, post 2014. 89. Mats Theselius, an ‘Inox’ armchair, ed. 1/199, for Källemo, Sweden post 2015. 82. Claesson Koivisto Rune (CKR) (Sweden, 1995–) a carpet, ‘Forell, Cer ise’ flat weave, ca 250 x 200 cm, signed AB MMF MC EK OR.

130. Piero Fornasetti, ‘Scimmie & Co’ chest of drawers, Fornasetti, Italy, Milano 2018.

137. Patricia Urquiola (Spain, 1961–) a ‘Tufty Time’ sofa, B&B Italia Maxalto, Italy.

Comprising four pieces: one corner sofa 110 x 110 cm, one sofa 110 x 100 cm, one divan 150 x 145 cm, one ottoman 110 x 110 cm, upholstered with a beige/off-white velvet fabric, total length 360 cm, height 68 cm, seat height ca 40 cm. Three cushions enclosed.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140

136. Piero Lissoni (Italy, 1956–) a ‘Flat Series’, sideboard, Cassina, Italy, ca year 2000.

The front with drawers, front in brown / aubergine lacquered wood, aluminium base and handles, white marble top, maker's mark Cassina, height 58 cm, length 270 cm, depth 60 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

138. Piero Fornasetti (Italy, 1913–1988) an ‘Architettura’ coffee table, Fornasetti, Milano, Italy 2008.

C-shaped base in lacquered wood with black and white architectural decor, signed FORNASETTI MILANO MADE IN ITALY 3/2008, rectangular glass top, 140 x 70 cm, height 51 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 130 – 3 570

139. Gaetano Pesce (Italy, 1939–) ‘Indian Summer’, a soft resin vase for Fish Design, Corsi Design, Italy post 2010. Turquoise vase with red base, maker's mark FISH DESIGN SERIE 2010. Height 33 cm, diameter of the base ca 30 cm.

Estimate: SEK 3 000 – 4 000 / EUR 270 – 360

140. Piero Fornasetti (Italy, 1913–1988) a ‘Serpente’ tray, Fornasetti, Milan, Italy 2000s.

Lacquered wood, decorated with a snake, 25 x 58.5 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

141. Piero Fornasetti (Italy, 1913–1988) a ‘Melafiscio’ ceramic jar with cover, Bitossi Ceramiche, Italy, lim ed. 88/399, ca 2010.

Black and white printed decor on a blue and white glazed ground, maker's mark and numbered 088/399, height 29 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

142. Piero Fornasetti (Italy, 1913–1988) a ‘Peccato’ paper basket, Fornasetti, Milan, Italy 2019.

Hand-silkscreened, painted and lacquered metal, with a brass top edge and feet, maker's mark FORNASETTI MILANO MADE IN ITALY N 31/2019 MF. Height 28,5 cm, diameter 26 cm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

144. Piero Fornasetti (Italy, 1913–1988) a ‘Libri’ table lamp, Fornasetti, Milan, Italy 2020.

Hand-silkscreened metal and brass, decorated with a flower vase among books, maker's mark FORNASETTI MILANO MADE

IN ITALY N 19/2020, height excluding lamp fitting 35 cm, total height including white textile shade, ca 63 cm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

143. Piero Fornasetti (Italy, 1913–1988) a ceramic ‘Striato’ cat sculpture, Milan, Italy, 2000s.

Turquoise glaze with gilt decor, maker's stamp, length 30.5 cm, height ca 12.5 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720

Provenance: Reportedly from a private collection in Germany.

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460

Opal

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

145. Edward Barber & Jay Osgerby (Great Britain, 1969–) a ‘Tobi-ishi, Rectangular table’ B&B Italia, post 2014. Base in MDF, surface covered in resin (Baydur) lacquered in glossy smoke blue, maker's mark Tobi-ishi B&B Italia, height 72,5 cm, width 114 cm, length 240 cm.

146. William Katavolos, Douglas Kelley & Ross Littell, 4 model ‘3LC T-Chairs’, Laverne International, USA, post 1952. Base in chrome plated and black lacuered metal, black leather seats, height 85 cm, seat height ca 43 cm.

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

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

148. Matthew Hilton (Great Britain, 1957–) a ‘Balzac’ armchair, SCP, England, post 1991.

Upholstered in a green textile, oak legs, maker's mark, seat height 41 cm, height 81 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

149. A multi coloured six light chandelier, Murano, Italy, around the year 2000.

Signed. Height ca 81 cm, diameter c. 95 cm.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

148a.Erik Höglund an eleven light chandelier, Boda, Sweden, probably 1960-70s.

Irion base with pendants in cast and mould blown glass, height 95 cm. Four iron links included à 15 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 790 – 2 230

Lennart Nilsson

Swedish photographer Lennart Nilsson (1922-2017) is world famous. He was the first in history to photograph a human foetus inside the womb. Nilsson’s experiments with electron microscopes and endoscopes, combined with further techniques, gave him the possibility to create high-resolution images of the development of life. The project was begun in 1953 and took Nilsson twelve years to complete.

Lennart Nilsson’s A Child is Born represented a major breakthrough in medical photography. In 1965 American LIFE Magazine published his 16-page feature ‘The Drama of Life Before Birth’. Together with the issues about the assassination of John F. Kennedy (1963) and ‘the Moon Landing’ (1969) it is the magazine’s fastest selling issue ever.

His book A Child is Born was first published in 1965 and is today one of the world’s most sold book of photography. It has sold more than 30 million copies, been published in five editions and translated into at least twenty languages. That same year he was awarded the Photographer of the Year Award by the American Society of Magazine Photographers. The images have been shown in exhibitions across the world and could, for example, be viewed at Abecita Popkonst & Foto in Borås during the spring of 2016 and at Westlicht. Schauplatz für Fotografie in Vienna in the spring of 2020.

At the same time as becoming one of the most successful feature photographers in the world Nilsson also had an equally successful career as a science photographer. He collaborated with Gillis Häägg (1931-2015) on many of his large projects. Häägg was a pioneer of colour photography in Europe and known as the man who coloured Lennart Nilsson’s scientific photographs. The two men had a close professional relationship that lasted for almost forty years.

In 1980 Nilsson was awarded the Hasselblad Prize. He is represented in several of the world’s biggest and most important museums, including the British Museum in London, Tokyo Fuji Art Museum, Museum of Modern Art in New York, as well as Nationalmuseum and Moderna Museet, both in Stockholm.

169. Lennart Nilsson, ‘Foster, 18 veckor’, 1965.

150. Anton Corbijn (Netherlands, 1955–) ‘Bryan Ferry, Miami, 1992’. Signed and numbered 11/20 on the mount. Lithprint, image 46 x 45 cm.

Provenance: Galleri Magnus Åklundh, Malmö.

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

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

151. Cindy Sherman (USA, 1954–) ‘Untitled (In honor of Mark Morrisroe)’, 1980. Signed Cindy Sherman and dated 2000 and numbered 72/75 verso. C-print, image 28 x 38.5 cm. Sheet 50 x 60 cm.

Provenance: AEREA, Stockholm.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920

152. Johan Bergström Hyldahl (Sweden, 1984–) ‘Der Mond’, 2015. Signed and numbered 1/5 on label verso. C-print silicone mounted to plexi glass, corian frame 58 x 54 cm.

Provenance: Cecilia Hillström Gallery, Stockholm.

Estimate: SEK 18 000 – 20 000 / EUR 1 610 – 1 790 (d)

Signed Jorma Puranen and numbered 2/6 verso. C-print diasec mounted to acrylic glass 74 x 94.5 cm.

Provenance: Galleri Flach, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

Signed Helene Schmitz and numbered 2/2 on label verso. Total edition of 2 + 2 AP. Archival pigment print mounted to aluminum and framed, image 75 x 97 cm. Including frame, 78 x 101 cm.

Literature: Helene Schmitz, ‘Thinking like a mountain’, 2018, illustrated.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920

Signed Hans Hammarskiöld verso. Printed in the 1990s. Gelatin silver print, image 35 x 25 cm.

Literature: Kurt Mälarstedt, ‘Foto Hammarskiöld – Tiden och ljuset’, 2008, illustrated on p. 85.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

153. Jorma Puranen (Finland, 1951–) ‘Travels on Canvas #4’, 2002.

154. Helene Schmitz (Sweden, 1960–) ‘Dreamland’, 2017.

155. Hans Hammarskiöld (Sweden, 1925–2012) ‘Syon Park, London’, 1955.

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

Signed Gunnar Smoliansky verso. Printed by the photographer.

Gelatin silver print, image 19 x 19 cm.

Provenance: Directly from the photographer to the present owner

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

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

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

Signed Gunnar Smoliansky verso. Printed by the photographer.

Gelatin silver print, image 19 x 19 cm.

Provenance: Directly from the photographer to the present owner

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

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

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

Signed Hans Runesson and numbered 2/2 verso. Total edition of 2 + 1 AP.

Gelatin silver print, image 81 x 119 cm.

Provenance: Pelle Unger Gallery, Stockholm.

Estimate: SEK 50 000 – 70 000 / EUR 4 460 – 6 250 (d)

159. Edouard Boubat (France, 1923–1999) ‘La Poule et L’Arbre, France’, 1950. Signed E. Boubat and dated 15-8-51. Vintage. Copyright stamp verso. Gelatin silver print mounted to cardboard, image 30 x 38 cm. Mount 40.2 x 48.5 cm.

Literature: Edouard Boubat, ‘Les Boubat de Boubat’, 1989, illustrated full-page. Bernard Boubat och Geneviève Anhoury, ‘Edouard Boubat’, 2004, illustrated full-page p. 77.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

160. Edouard Boubat (France, 1923–1999) ‘Lella’, 1947.

Indistinctly signed E. Boubat and titled. Gelatin silver print mounted to cardboard, 35.5 x 27 cm. Mount 48 x 36 cm.

Literature: Edouard Boubat, ‘Les Boubat de Boubat’, 1989, illustrated on full-page. Aidan Ellis, ‘Edouard Boubat, Woman’, 1972, illustrated on full-page p.14 and on cover.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

161. Charlotte Gyllenhammar (Sweden, 1963–) ‘Fall #6’, 1999. Edition 4/5. C-print mounted to glass 120 x 120 cm.

Provenance: Acquired directly from Charlotte Gyllenhammar Studio in 2016 by the present owner.

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

Estimate: SEK 100 000 – 125 000 / EUR 8 920 – 11 150 (d)

162. Christer Strömholm (Sweden, 1918–2002) ‘Madrid’, 1950's. Signed CHR and by fingerprint on the mount. Also signed verso. Gelatin silver print laid down on cardboard, image 29 x 21 cm.

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

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

163. Dawid (Björn Dawidsson) (Sweden, 1949–) From the series ‘TILL’, 1998. Signed and dated 1998 verso. Vintage. Unique. Gelatin silver print 68.5 x 58.5 cm including the original frame executed by the photographer.

Provenance: Galleri UP, Stockholm, 1998.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

164. Dawid (Björn Dawidsson) (Sweden, 1949–) From the series ‘TILL’, 1998. Signed and dated 1998 verso. Vintage. Unique. Gelatin silver print 68.5 x 58.5 cm including the original frame executed by the photographer.

Provenance: Galleri UP, Stockholm, 1998.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

165. Dawid (Björn Dawidsson) (Sweden, 1949–) From the series ‘TILL’, 1998.

Signed and dated 1998 verso. Vintage. Unique. Gelatin silver print 68.5 x 58.5 cm including the original frame executed by the photographer.

Exhibitions: Galleri UP, Stockholm, 1998.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

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

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

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

Estimate: SEK 50 000 – 60 000 / EUR 4 460 – 5 360 (d)

166. Double Elvis Edition Portfolio, 2010.

12 motifs mounted in a specially made frame that is also a box containing all prints. Prints by Gedda, Smoliansky, Lundqvist, Pirinen, Elovsson, Lexander, Dawid, Jacobson, Sparre, Wickström, Wolgers, Widoff. Pigment print, sheet 42 x 60. Box 61.5 x 44.2 cm.

Provenance: Double Elvis Gallery, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460

Maria Friberg

Maria Frieberg is one of our most important contemporary artists, she has worked conceptually with photography and video since the 1990s. Typical of Frieberg’s artistic practice is a great interest in society and a strong desire to depict contemporary phenomena. In her staged photographs, she strives for a striking combination of aesthetically pleasing images and the familiar contemporary objects of consumerism. Friberg manages to pinpoint burning contemporary issues without becoming defined as a politically oriented artist. There are of course several reasons for that but some of the strengths she possesses are humor and an unfailing sense for compositions.

In the exhibition catalog for Havremagasinet in Boden, spring of 2016, Dragana Vujanovic describes Friberg’s work:

Unlike the street photographer that strives to capture decisive moments of life that takes place in front of the camera, Maria Friberg’s photographs are a result of a thorough planning and large productions where collaborations with inventors, scenographers and craftsmen are essential in the creation of the work. References to art history, and especially painting, are frequent in Friberg’s works.

In the series Duration one can find references to the Danish painter Vilhelm Hammershøi and his interiors, and the draped fabrics in the series Embedded would be great in a classical stuff painting.

In the larger work Days of Eyes 1 from 2014, the paintings of the French naivist Henri Rosseau (1844–1919) comes to mind. Although Rousseau never traveled abroad, his favorite subject was the jungle. In the same way, Frieberg illustrates with her photography how a person of today is connected with the whole world without actually having to leave Sweden. Using the Uppsala botanical garden and a boy from the same town, she conveys how we are all part of the same ecosystem - if the Amazon jungle changes, so does Uppsala.

Just like with Rosseau the green hues of plant life carry mystical aspects. Among the vines and branches in Frieberg’s photographs, we see hanging black cables that remind us of how technology has developed our physical abilities and given us a greater capacity to discover the world. The work opens up for questions; Are we separating ourselves from the natural world in favor of a virtual one? How are different cultures and ecosystems affected by this new availability? What are the consequences, if any?

170. Maria Friberg, ‘Days of Eyes 1’, 2014.

168. Jan Svenungsson (Sweden, 1961–) ‘Container’, 1989.

Signed Svenungsson and dated 1989 verso.

Gelatin silver print, 66.5 x 107 cm including the artist's frame.

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680 (d)

169. Lennart Nilsson (Sweden, 1922–2017) ‘Foster, 18 veckor’, 1965.

From ‘Ett barn blir till’. Signed Lennart Nilsson and numbered 3/35 verso. Printed 2015. Platinum palladium print, image 44.5 x 44.5 cm.

Literature: Life Magazine, 30 april 1965, illustrated on cover.

Lennart Nilsson and Lars Hamberger, ‘Ett barn blir till’, 1995, illustrated.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140

170. Maria Friberg (Sweden, 1966–) ‘Days of Eyes 1’, 2014.

Signed Maria Friberg and numbered 1/3 verso. Pigment print 188 x 150 cm.

Provenance: Pi ArtWorks, London, Art International Fair, Istanbul. Acquired from the above by the present owner.

Exhibitions: Havremagasinet, Boden, 6 February – 10 April 2016, another example exhibited.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

171. Per Wizén (Sweden, 1966–) ‘Carousel’, 2001.

From the series ‘Spin’. Signed Per Wizén and numbered 5/5 on label verso. Cibachrome, 129.5 x 259 cm including frame.

Exhibitions: Malmö Konstmuseum, Malmö, ‘Per Wizén’, 22 November - 18 January 2009, another example exhibited.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

172. Torbjörn Calvero (Sweden, 1949–2016) ‘Patti Smith’, 1977.

Signed Calvero and numbered 6/7. C-print. Image 36 x 24 cm.

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

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

173. Nygårds Karin Bengtsson (Sweden, 1972–) ‘The Letter’, 2016.

Signed Nygårds Karin Bengtsson and numbered 1/5 + 2 AP verso. C-print silicone mounted on aluminum and glass 90 x 110 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Estimate: SEK 50 000 – 70 000 / EUR 4 460 – 6 250 (d)

174. Yves Marchand & Romain Meffre (France) ‘Roosevelt Warehouse, Public Schools Book Depository’, 2007.

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

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

175. Tracey Mo att (Australia, 1960–) ‘Something More #3’, 1989, Signed T. Moffatt and dated ´89 and numbered AP verso.

C-print, image 97 x 128 cm.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

176. Thomas Ruff (Germany, 1958–) ‘Nachtphoto’, 1993. Signed Thomas Ruff and numbered 12/45 verso.

Grano print, image 59 x 62 cm. Including frame 73 x 76 cm.

Provenance: Liliana Tovar Gallery, Stockholm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

Signed Terry O'Neill and numbered 11/50. Certificate from Iconic Images accompanies the work. C-print, image 68 x 68 cm. Including frame 92 x 90 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

Signed

Estimate: SEK 10 000 – 15 000 / EUR 900 – 1 340 (d)

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

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

177. Terry O'Neill (Great Britain, 1938–2019)’Sean Connery, Bond On The Moon’, 1971.

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

179. Miriam Bäckström (Sweden, 1967–)’Dödsbo #2’, 1996.

Miriam Bäckström and dated 1996 and numbered 1/3 verso. Cibachrome mounted to dibond 50 x 50 cm.

180. Mike & Doug Starn (Starn Twins) (USA, 1961–) ‘Sno6 047.1’, 2006–2007.

Signed Mike & Doug Starn verso. Edition 2/5. Epson K3 Ultrachrome Inkjet print on Epson premium glossy photo paper diasec mounted to acrylic glass, 115 x 115 cm including frame.

Provenance: Wetterling Gallery, Stockholm.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140

181. Mikael Jansson (Sweden, 1958–) ‘Marion Cotillard #1, Paris 2010’.

Signed Mikael Jansson and numbered 1/5 verso. Total edition of 5 + 2 AP. Printed in 2021. C-print mounted on aluminum and framed, image 50 x 39 cm.

Provenance: CF HILL, Stockholm

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

182. Mikael Jansson (Sweden, 1958–) ‘Marion Cotillard #2, Paris 2010’.

Signed Mikael Jansson and numbered 1/5 verso. Total edition of 5 + 2 AP. Printed in 2021. Digital pigment print mounted to aluminum and framed, image 50 x 37 cm.

Provenance: CF HILL, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

183.

Signed Sukita and numbered 14/20. Also signed by David Bowie and dated -13. Certificate issued by Genesis Publications 2013 accompanies the work.

Pigment print, image 54 x 40 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

Signed L Gispert and dated 09 and numbered 6/6 verso. C-print, image 120.5 x 204.5 cm.

Provenance: Stefan Lundgren Gallery, Palma de Mallorca.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920

Copyright stamp verso. Edition 2/5. Certificate accompanies the work. Printed in 2023. Gelatin silver print 89.5 x 60 cm.

Literature: Life Magazine International, 22 februari 1960, illustrated.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570

Masayoshi Sukita (Japan, 1938–) ‘Ziggy Plays Guitar’, 1974.

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

185. Lennart Nilsson (Sweden, 1922–2017)

‘Ingmar Bergman, Stockholm 1960’.

186.

‘10 Photographs by Louis Stettner’, 1949.

Signed Louis Stettner and with dedication dated Paris September 10th 1952. Numbered 199/250. Introduction by Brassai. Published by Two Cities Publications and printed by André Delcher, Paris. Ten duotone prints, image circa 19 x 24 cm. Sheet 32.5 x 39 cm. Portfolio 36 x 43 cm.

Provenance: Directly from the photographer to the present owners family.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

Titled and signed Louis Stettner on the mount. Vintage. Gelatin silver print mounted to cardboard, image 38 x 34.5 cm. Cardboard 43 x 39 cm.

Provenance: Directly from the photographer to the present owners family.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

188.

ca 1907. Presumably a portrait of Esikio Tobar (1893-1950), Lipan Apache, Texas, dressed as a Navajo. Gelatin silver print 24.5 x 19 cm. Not framed.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

Louis Stettner (USA, 1922–2016) Portfolio

187. Louis Stettner (USA, 1922–2016) ‘Pumpkins’, 1951.

Karl Moon (USA, 1878–1948) ‘Navajo Man’,

Estimate: SEK 30 000 – 35 000 / EUR 2 680 – 3 130 (d)

6/9.

Estimate: SEK 30 000 – 35 000 / EUR 2 680 – 3 130 (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 680 – 3 130 (d)

189. Jimmy Nelson (Great Britain, 1967–) ‘Kazakh, Altantsogts, Bayan Olgii, Mongolia, 2011’.

Signed on label verso. Signed certificate accompanies the work. Edition

Archival pigment print mounted to aluminum and framed, image 60 x 48 cm. Including frame 79 x 67 cm.

190. Hans Hammarskiöld (Sweden, 1925–2012) ‘Hon’, 1966. Edition 1/15. Printed in 2022 by Hans Hammarskiöld Heritage. Pigment print mounted to glass 80 x 80 cm.

191. Hans Hammarskiöld (Sweden, 1925–2012) ‘Hon, Niki de Saint Phalle’, 1966. Edition 1/15. Printed in 2022 by Hans Hammarskiöld Heritage. Pigment print mounted to glass 80 x 80 cm.

192. Helene Schmitz (Sweden, 1960–) ‘Livingrooms’, 1996.

Signed Helene Schmitz and numbered 1/3 on label verso. Printed in 2018. C-print mounted to glass and framed 125 x 177 cm including frame.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

193. Helena Blomqvist (Sweden, 1975–) ‘Robbers’, 2001.

Signed Helena Blomqvist and dated 2011 and numbered 1/5 on label verso. Lithprint, image 65 x 54 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Bukowskis, ‘Contemporary Art & Design 602’, 25 October, 2017, cat. no. 170.

Exhibitions: Fotografiska, Stockholm, ‘Helena Blomqvist -Stories from Another World’, 20 April – 2 June, 2012, another example exhibited.

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680 (d)

194. Jacob Felländer (Sweden, 1974–)

‘Hong Kong 48 (Cityscape #4)’, 2011.

Edition 5 + 2 AP. C-print mounted to glass 75 x 179 cm. Including frame 82 x 186 cm.

Provenance: Fotografiska, Stockholm.

Exhibitions: Fotografiska, Stockholm, ‘I want to live close to you’, 6 May – 28 August 2011, another example exhibited.

MOCA Miami, Art Basel 2017, 6 December 2017–11 February 2018, another example exhibited.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

195. 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.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

196. 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.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

197. 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: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

198. 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.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070 (d)

199. Maria Friberg (Sweden, 1966–) ‘Duration 1’, 2012.

Signed Maria Friberg and numbered 4/5 verso. C-print, oak, laminate, 110 x 80 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Literature: Maria Friberg e.a, ‘Changed Positions’, 2015, illustrated on full-page p. 27.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

200. 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. Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

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

Signed Nygårds Karin Bengtsson and numbered 1/5 + 2 AP verso. C-print silicone mounted to aluminum and glass 145 x 176 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

202. Per Wizén (Sweden, 1966–) ‘Untitled (from the ‘Spin’ series), 2001.

Signed Per Wizén and numbered 1/5 verso. Laserchrome print, image 40 x 49.5 cm.

Provenance: Zinc Gallery, Stockholm.

Exhibitions: Galleria d'Arte Moderna e Contemporanea Palazzo Forti, Verona, ‘Artists of the ideal’, 2002.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

203. Maria Friberg (Sweden, 1966–) ‘Still Lives #6’, 2005.

Signed Maria Friberg and numbered 3/6 verso. Cibachrome, laminate, wood 70 x 50 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Estimate: SEK 50 000 – 70 000 / EUR 4 460 – 6 250 (d)

204. Teitur Ardal (Sweden, 1985–) ‘Mt Fuji’, 2008.

Signed Teitur Ardal and numbered 1/3 verso. Total edition 3 + 1 AP. Gelatin silver print, image 137 x 139.5 cm. Including frame 160 x 170 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

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

Signed Terry O'Neill and numbered 42/50. Total edition of 50 + 10 AP. Gelatin silver print, image 71.5 x 55.5 cm.

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

Estimate: SEK 175 000 – 200 000 / EUR 15 620 – 17 850 (d)

206. Torbjörn Calvero (Sweden, 1949–2016) ‘The Clash’, 1977.

Signed Calvero and numbered 1/7. C-print, image 57.5 x 89.5 cm.

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

Literature: Torbjörn Calvero and Christer Olsson, ‘Från Abba till Zeppelin. Calveros 70-tal’, illustrated on spread p. 46-47.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

207.

(Israel, 1976–) ‘Performance Still (PJ & Cheryl)’, 2008.

Signed Mika Rottenberg on label verso. Numbered 1/3 + 2 AP. C-print 175.5 x 115.6 cm including frame.

Provenance: Nicole Klagsbrun, New York. Andréhn-Schiptjenko, Stockholm.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

Signed Sukita and numbered 5/10. C-print, image 70 x 66 cm. Including frame 103 x 77 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

Signed. Unique. inkjet prints on Gampi paper, wax, glue and cello tape, image circa 105 x 200 cm. Including frame 125 x 220 cm.

Provenance: Wetterling Gallery, Stockholm.

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380

Mika Rottenberg

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

209. Mike & Doug Starn (Starn Twins) (USA, 1961–) ‘Black Pulse #17’, 2000–2007.

Signed Richard Kern and numbered 3/10 on label verso. Gelatin silver print, image 115 x 76 cm.

Provenance: Björkholmen Gallery, Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

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

Signed Nan Goldin and numbered XX/75 verso. Printed in 1989 for The Estate Projects 1989 Portfolio. Cibachrome, image 60 x 50 cm including frame.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

212.

Signed and numbered 4/4 verso. Total edition of 4 + 2 AP. Ilfochrome print mounted to aluminum and framed, image 70 x 90 cm. Including frame 78 x 98.5 cm.

Provenance: Hamiltons Gallery, London.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

210. Richard Kern (USA, 1954–) ‘Monica leaning against wall’, 1993.

Guido Mocafico (Italy, 1962–) ‘Morelia Viridis’, 2003.

213. Cooper & Gorfer (Austria, 1979–)’Niza and the Animals’, 2015.

Signed and numbered 2/6 on label verso. Total edition of 6 + 2 AP. Archival Pigment print, 112 x 85 cm including frame.

Provenance: Christian Larsen, Stockholm.

Estimate: SEK 100 000 – 125 000 / EUR 8 920 – 11 150 (d)

214. David LaChapelle (USA, 1963–) ‘Negative Currency: Fifty Dollar Bill Used As Negative’, 1990–2008.

Signed David LaChapelle and numbered 3/5 on label on verso. Chromogenic print mounted on acrylic glass and framed, image, 75 x 174 cm.

Provenance: Wolfgang Roth and Partners Fine Art, Miami.

Literature: Fotografiska, David LaChapelle, ‘Burning Beauty’, 2012, illustrated on p. 187.

Estimate: SEK 175 000 – 200 000 / EUR 15 620 – 17 850

215. Bert Stern (USA, 1929–2013) ‘Marilyn Roses (from the last sitting)’, 1962.

Signed Bert Stern and dated 2005. Also signed and dated verso. Printed in 2005.

Unique. Hand tinted digital print, 190 x 146 cm including frame.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

216. Blaise Reutersward (Sweden, 1961–) ‘Gudhjem’, 2013.

Signed BLAISE REUTERSWARD and numbered 5/5 verso. Total edition of 5 + 2 AP. C-print diasec mounted to acrylic glass and framed 190 x 240 cm.

Provenance: Galleri Mårtensson & Persson, Stockholm.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

217. August Sander (Germany, 1876–1964) ‘The Pastry Chef’, 1928. With embossed stamp ‘Aug. Sander. Köln. Lindenthal’ in the lower left corner. Presumably printed later by Gunther Sander. Gelatin silver print, image 29.5 x 22 cm. Sheet 30.2 x 24 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

218. Antanas Sutkus (Lithuania, 1939–) ‘Goodbye, party comrades!’, 1991. Signed A. Sutkus verso. Gelatin silver print, image 46.6 x 37.5 cm. Sheet 49.8 x 39.8 cm.

Literature: ‘Farewell to the XX Century: Lithuanian Photography 1932-2000’, 2000, illustrated on p. 118. Saulius Žukas, ‘Antanas Sutkus. Fotografijos/Photographs 1959–1999’, 2000, illustrated on p. 57. Antanas Sutkus, ‘Antanas Sutkus: Lithuanian Portraits’, 2008, illustrated on p. 84 Antanas Sutkus. ‘Antanas Sutkus: A Retrospective’, 2009, illustrated.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070 (d)

219.

Signed Bruno Ehrs on label verso. Edition 8/10. Printed in september 2004.

Gelatin silver print, image 155 x 123 cm. Including frame 162.5 x 130.5 cm.

Estimate: SEK 100 000 – 125 000 / EUR 8 920 – 11 150 (d)

220. Charlotte Gyllenhammar (Sweden, 1963–) ‘Hang 1’, 2006.

Signed Charlotte Gyllenhammar on label verso. Edition 1/5.

Gelatin silver print silicone mounted to glass 120 x 135 cm.

Provenance: Dep,art,ment, Stockholm.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

221. Dana Sederowsky (Sweden, 1975–) ‘Staircase, Beelitz Heilstätten, 2013’.

Signed Dana Sederowsky and numbered 2/6 + 2 AP verso.

Pigment print, image 106 x 69 cm.

Provenance: Directly from the artist to the present owner.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

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

222. 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.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

223. Dan Wolgers (Sweden, 1955–) ‘Här slutar allmän väg’, 1995. Signed Dan Wolgers and dated 1995 and numbered 47/75 verso. Cibachrome 28.5 x 49 cm.

Provenance: Bukowski Auktioner, Moderna Höstauktionen 533, 2004.

Literature: Dan Wolgers, ‘Dan Wolgers verksamhet 1977-2001’, Liljevalchs konsthall, 2001, compare p. 108-111.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

224. Jorma Puranen (Finland, 1951–) ‘Shadows, Reflections and all that sort of things #58’, 2010.

Edition 2/6. C-print diasec mounted to acrylic glass 96 x 77 cm.

Provenance: Galleri Flach, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

225. Helene Schmitz (Sweden, 1960–) ‘Olle’, 1979.

Signed Helene Schmitz and numbered 1/10 verso. Printed in 2022. Gelatin silver print, image 53.5 x 38 cm. Including frame 61.5 x 46.5 cm.

Literature: Helene Schmitz, ‘1983’, 2022, illustrated on full-page p. 31.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

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

Signed Leif-Erik Nygårds verso. From an edition of 150 where circa twenty where made. Cibachrome, image 29 x 38.5 cm.

Provenance: Directly from the photographer to the present owner.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

227. Denise Grünstein (Finland, 1950–) ‘Jaisana’, 2001.

Signed Denise Grünstein and numbered 5/20. Photogravure, image 41.5 x 55.5 cm. Sheet 60 x 78 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Bukowski Auktioner, Höstens Moderna sale 553, 2009.

Literature: Denise Grünstein, Bo Nilsson e.a, ‘Figure Out’, 2010, compare images p. 15-19.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

228. Julia Peirone (Sweden, 1973–)

‘Stella (Bump, Set, Hit and Spike)’, 2014.

Signed Julia Peirone and numbered 1/3 on label verso. C-print 140 x 120 cm.

Provenance: Stene Projects, Stockholm.

Exhibitions: Göteborgs konstmuseum, Gothenburg, ‘Julia Peirone’, November 2017–March 2018.

Liljevalchs konsthall, Stockholm, ‘Julia Peirone – Braids and bruisers’, 3 June – 4 September 2022.

Literature: Liljevalchs konsthall, Stockholm, ‘Julia Peirone – Braids and bruisers’, 2022, another edition illustrated in the catalogue p. 81.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

229. Lennart Nilsson (Sweden, 1922–2017) ‘Sperm’, 1965.

Signed Lennart Nilsson and numbered 2/2 verso. Cibachrome mounted to aluminum and framed, 99 x 170 cm. Including frame 116 x 186 cm.

Provenance: A gift from the photographer to present owner.

Literature: Lennart Nilsson and Lars Hamberger, ‘Ett barn blir till’, 1995, illustrated on spread p. 42-43.

Estimate: SEK 50 000 – 70 000 / EUR 4 460 – 6 250 (d)

230. 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.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

Signed Åke E:son Lindman and dated 1991 verso. Vintage. Sepiatoned gelatin silver print from a Polaroid negative, image 49 x 39 cm. Including the artist's original iron frame, 74 x 60.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

Signed Rune Hassner and with dedication dated Paris 10-9-1952.

Vintage. Gelatin silver print mounted to cardboard, image 36 x 23 cm.

Provenance: Directly from the photographer to the present owners family.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720 (d)

Signed Rune Hassner on the mount. Gelatin silver print mounted to cardboard, image 39.5 x 30 cm.

Provenance: Directly from the photographer to the present owners family.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720 (d)

231. Åke E:son Lindman (Sweden, 1953–) ‘Utan titel #39’, 1990.

232. Rune Hassner (Sweden, 1928–2003) ‘Allhelgonadagen, Paris’, 1950.

233. Rune Hassner (Sweden, 1928–2003) ‘Picassovägg, St Michel, Paris’, 1950.

234. Rolf Winquist (Sweden, 1910–1968) ‘Dream Nude II’, 1940s. Signed Rolf Winquist. Pigment print mounted to cardboard, image 39 x 29 cm.

Exhibitions: San Francisco International Salon of Photography, 1947.

IV Mezinarodni Salon Fotografie, Prag-Bratislava-Brno-Ostrava, 1948.

Jönköpings fotoklubb, 1st International salon of Photography, 1949. Lititz Springs 6th International Salon, 1949.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720 (d)

235. Rune Hassner (Sweden, 1928–2003) ‘Roddare på Kongofloden’, 1954. Signed Rune Hassner on the mount. Signed book accompanies the work. Gelatin silver print mounted to cardboard, image 37.5 x 47 cm.

Provenance: Directly from the photographer to the present owner's family.

Estimate: SEK 4 000 – 6 000 / EUR 360 – 540 (d)

236. Lovisa Ringborg (Sweden, 1979–) ‘Haunted’ (from Wonderland) , 2005. Signed Lovisa Ringborg and numbered 1/5 verso. C-print mounted to aluminum 52 x 50 cm.

Estimate: SEK 18 000 – 20 000 / EUR 1 610 – 1 790 (d)

237. Ann Eringstam (Sweden, 1977–) ‘In search of wonderland 5’, 2011.

Signed Ann Eringstam and numbered 4/5 on label verso. Total edition of 5 + 2 AP.

Digital C-print mounted to aluminum and acrylic glass 100 x 150 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

238. Anders Krisár (Sweden, 1973–) ‘Camera Obscura #I’, 2020.

Signed Krisár and numbered 1/5 verso. C-print, image 66 x 48 cm.

Provenance: Directly from the artist to the present owner.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

Signed on certificate. Edition 1/10 + 4 AP. Pigment print, image 49 x 39 cm.

Literature: Anders Kristensson, ‘Spår av en befolkning’, 2005, illustrated on full-page.

Estimate: SEK 18 000 – 20 000 / EUR 1 610 – 1 790

239. Anders Kristensson (Sweden, 1958–) ‘Agneta Lundvall, barnmorska, Klagshamns strand, Skåne 1994’.

240. Anders Kristensson (Sweden, 1958–) ‘Romer utanför tillfällig gudstjänstlokal, Rosengård, Malmö 1994’.

Signed on certificate. Edition 1/10 + 4 AP. Pigment print, image 49 x 39 cm.

Literature: Anders Kristensson, ‘Spår av en befolkning’, 2005, illustrated on full-page.

Estimate: SEK 18 000 – 20 000 / EUR 1 610 – 1 790

241. Cindy Sherman (USA, 1954–) ‘Untitled’, 2002.

Signed Cindy Sherman and dated 2002/04 and numbered 269/300 verso. C-print, image 73 x 50 cm.

Provenance: Bukowski Auktioner, the Modern sale 553, 2009.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

242.

Signed on label verso. Edition 1/6 + 2 AP. Printed in 2010. Archival pigment print mounted to dibond and framed 114 x 88 cm.

Provenance: Christian Larsen, Stockholm.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

243. Withdrawn

Cooper & Gorfer (Austria, 1979–) ‘Undressing Vivienne’, 2010.

243A. Anders Krisár, ‘Johan’, 2009.

Signed Krisár and numbered 1/3 verso.

C-print mounted to glass 112 x 90 cm.

Provenance: Mia Sundberg Galleri, Stockholm.

Literature: Kreuger (ed.), ‘Anders Krisàr’, 2011, illustrated p. 180–181

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

245. Brigitte Bauer (Germany, 1959–) ‘Paysage du Rhône’, 1996.

Signed B. Bauer verso. C-print, 46 x 46 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

244. Brigitte Bauer (Germany, 1959–) ‘Sans titre’, 1994.

Signed B. Bauer verso. C-print, 46 x 46 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

247. Ruud van Empel (Netherlands, 1958–) ‘Connection’, 2010.

Signed Ruud van Empel on label verso. Numbered 2/7.

Cibachrome mounted to aluminum 100 x 300 cm.

Provenance: Flatland Gallery, Utrecht.

Christies,

246. Ann Eringstam (Sweden, 1977–) ‘In search of wonderland 12’, 2013.

Signed Ann Eringstam and numbered 2/5 on label verso. Total edition of 5 + 2 AP.

Digital C-print mounted to aluminum and acrylic glass 100 x 150 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Exhibitions: Passagen Linköpings konsthall, Sweden, ‘Ann Eringstam Selected Works’, 21 March – 10 May 2015, another example exhibited.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

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

Signed Maria Friberg and numbered 2/5 verso. Total edition of 5 + 2 AP. C-print silicone mounted to glass 98 x 146 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

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

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

Estimate: SEK 50 000 – 60 000 / EUR 4 460 – 5 360 (d)

249. Julian Opie (Great Britain, 1958–)

‘Voices Footsteps Telephone’, 2000.

Signed Julian Opie and numbered 20/40 verso. Chromogenic print, image 72.5 x 109 cm.

Provenance: Bukowskis, ‘Contemporary Art & Design’, 9 april 2019, cat. no 230

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680 (d)

250. Zhang Dali (China, 1963–) ‘Bamboo’, 2013.

Certificate signed by the artist accompanies the work.

Cyanotype photogram on rice paper. Image 132.5 x 65.5 cm.

Provenance: Directly from the photographer to the present owner.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570

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

Signed Helmut Newton and numbered 02887/10.000. Total edition of 10.000 + 200 AP. Book published by Taschen, Monte Carlo, 1999, 71 x 51 cm. With a metal table designed by Phillippe Starck and original cardboard box from Taschen. The book and the metal table has never been unwrapped, mint condition.

Estimate: SEK 100 000 – 125 000 / EUR 8 920 – 11 150

252. Andres Serrano (USA, 1950–) ‘The Interpretation of Dreams (Oedipus), 2001’.

Signed Andres Serrano and numbered 3/7 verso. Cibachrome, silicone, plexi glass, wood 114 x 95.5 cm including frame.

Provenance: Paula Cooper Gallery, New York. Galleri Charlotte Lund, Stockholm. Privat samling, Stockholm.

Estimate: SEK 50 000 – 60 000 / EUR 4 460 – 5 360

253. Christer Strömholm (Sweden, 1918–2002) ‘Bleka damen, Barcelona’, 1959.

Signed CHR and numbered 6/7. Printed in 1990. Lithograph printed by the Finnish photographer Pentti Sammallahti and Christer Strömholm. According to the Strömholm Estate the edition is 300 but only 7 of them where signed by Strömholm. Lithograph, image 45 x 34 cm.

Exhibitions: Fotografiska, Stockholm, ‘CHR’, 24 August - 25 October 2012, another example exhibited. Literature: Camera magazine, issue Christer Strömholm, 1980, illustrated on cover.

Anders Jonason and Christer Strömholm, ‘Konsten att vara där’, 1991, illustrated p. 139.

Lourdes Peracaula (ed.), ‘Christer Strömholm’, 2001, illustrated p. 27.

Joakim & Jakob Strömholm (e.a), ‘Christer Strömholm 1918-2002, On verra bien’, 2002, illustrated on full-page p. 103.

Brigitte Govignon (e.a), ‘La Petite Encyclopédie de la Photographie’, 2011, illustrated on the cover.

Joakim Strömholm (ed.), ‘Post Scriptum Christer Strömholm’, 2012, illustrated on full-page p. 217.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

253A. Helena Blomqvist (Sweden, 1975) ‘Cloudy’, 2019.

Signed Helena Blomqvist and numbered 1/6 on label verso. C-print, image 119 x 99 cm.

Provenance: Galerie Forsblom, Stockholm.

Exhibitions: Galerie Forsblom, Stockholm, ‘The Great Silence’, 5 April – 12 May 2019, another example exhibited.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

254. Mats Gamdrup (Denmark, 1967–) ‘Provins’, 1998.

Signed Mats Gamdrup and numbered 1/5 verso. C-print, image 90 x 114 cm.

Provenance: Galleri Nils Stærk, Copenhagen.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900 (d)

Relocating – a Private Collection of Nordic Contemporary Art

Bukowskis is pleased to present a private collection containing works by contemporary Swedish and Nordic artists. The collection came about because of the present owner’s sincere interest in art and artistic expression. The works were often acquired early on in the artists’ careers, generally when they first showed at an established gallery. The collection will be sold in two parts – about twenty pieces are included here at the Contemporary Art & Design sale, and an additional thirty or so pieces will be sold in an online auction later this year, ‘Relocating – Nordic Contemporary Art’.

The seller has consistently kept a low profile in the art world and wishes to remain anonymous. He began his art collection upon moving to Sweden in the beginning of the 2000s. He has always appreciated ‘the Swedish relationship to art’. This relationship, he believes, is distinguished by the desire to find a unique expression. In his opinion this differentiates it from, for example, the Danish tradition, which he feels is more occupied with referring to and being inspired by art history.

Our collector has had a long career in science, but throughout the years has found a kind of sanctuary in art. With an increasing interest in contemporary art and a growing respect for practising artists, he observed parallels between art and science in the desire of both disciplines to discover the world and communicate new insights and knowledge.

Since the very first piece was bought the collection has grown steadily year by year. It contains several large works, both literally and metaphorically, which in recent times has resulted in great parts of the collection being in storage.

As the collection has grown so has the seller’s realisation that art is something that should be enjoyed every day. He insists that by keeping the art in storage you remove the work’s true meaning; that art should be viewed and interpreted by people. Having the art in storage has created a feeling within him of selfishness, a bad conscience that he isn’t sharing all these artists’ expressions, ideas and channeled energies. Whilst it is with some sadness that the collection is now offered for sale at auction, there is still a positive feeling in that the artworks will, once more, give new owners joy and challenge their intellect.

The collection includes the following lots:

Photographs #173, #201, #237, #238, #246

Contemporary Art #255-269A

255. Kristina Matousch (Sweden, 1974–) ‘Through 18.16’.

Executed in 2021. Acrylic on canvas 64 x 51 cm.

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

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

256. Julia Selin (Sweden, 1986–) ‘Heavy walk through the slime swamp’.

Signed Julia Selin and dated 2019 verso. Canvas 230 x 196 cm.

Provenance: Galerie Thomas Wallner, Simris.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Exhibitions: Galerie Thomas Wallner, Simris, ‘Root rot caused by live liquid – Julia Selin’, 24 November 2018–6 January 2019.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

257. Tomas Lundgren (Sweden, 1985–) ‘Migration I’.

Signed Tomas Lundgren and dated 2014 verso. Canvas 180 x 145 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – A Collection of Nordic Contemporary Art.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

258. Disa Rytt (Sweden, 1984–) ‘Bend’.

Signed Disa Rytt and dated 2016 verso. Acrylic and gesso on polyester fabric 170 x 60 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden. Exhibitions: Galleri Thomas Wallner, Simris, Sweden, ‘Disa Rytt’, 11 June – 17 July 2016.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

259. Elisabeth Östin (Sweden, 1989–) ‘Carrier’.

Signed Elisabeth Östin and dated 2017 verso. Canvas 160 x 120 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Exhibitions: Galleri Thomas Wallner, Simris, ‘To live in such a place’, 14 October – 19 November 2017.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

260. Nina Roos (Finland, 1956–) ‘The Room and the Thought’.

Signed Nina Roos and dated 2015 verso. Canvas 200 x 240 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – A Collection of Nordic Contemporary Art.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

261. Leonard Forslund (Norway, 1959–) ‘Drömsplitter nr 8412245’.

Signed Leonard Forslund and dated 2013 verso. Acrylic on canvas 120 x 170 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

262. Kristina Matousch (Sweden, 1974–) ‘Periferi I.J.’.

Signed and dated 2014 verso. Digital print on canvas 141 x 100 cm.

Provenance: Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

263. Ella Tillema (Sweden, 1983–) ‘Landscape’.

Signed Ella Tillema and dated 2011–2015 verso. Oil on canvas 160 x 250 cm.

Provenance: Galleri Thomas Wallner, Malmö.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Exhibitions: Galleri Thomas Wallner, High Court Malmö, ‘Elisabeth Frieberg, Tomas Lundgren och Ella Tillema’, September 26–November 29 2015.

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680 (d)

264. Elisabeth Frieberg (Sweden, 1977–) ‘White, Black, Death, Gold’.

Signed E. Frieberg and dated 2019 verso. Oil on linen canvas 204 x 348 cm including frame.

Provenance: Kewenig, Berlin.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Exhibitions: Kewenig, Berlin, ‘Elisabeth Frieberg – White Black Death Gold’, 8 February – 9 May 2020.

Estimate: SEK 175 000 – 200 000 / EUR 15 620 – 17 850 (d)

265. Sigrid Sandström (Sweden, 1970–) ‘Utan titel’.

Signed Sigrid Sandström and dated 2015 verso. Acrylic on polyester canvas 194 x 152 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Exhibitions: Galleri Thomas Wallner, Simris, ‘Sigrid Sandström’, 5 September – 11 October 2015.

Estimate: SEK 50 000 – 70 000 / EUR 4 460 – 6 250 (d)

266. Håkan Bengtsson (Sweden, 1965–) ‘Untitled’.

Signed Håkan Bengtsson and dated 1997 verso. Oil on canvas 180.5 x 181 cm.

Provenance: Galleri Magnus Åklundh, Lund.

Dan-Ola Larsson Collection.

Bukowski Auktioner, Stockholm, 2022.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

267. Ann Edholm (Sweden, 1953–) ‘Nacht und Nacht’.

Signed Ann Edholm and dated 2020 verso. Canvas 35.5 x 25 cm.

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

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

320. Elisabeth Frieberg, ‘Untitled (blue, gold, center, beam)’.

Elisabeth Frieberg

Elisabeth Frieberg graduated from the Academy of Fine Arts, Umeå, in 2010. She has previously exhibited at galleri Thomas Wallner in Skåne as well as Stene Projects in Stockholm and Andréhn-Schiptjenko in Stockholm and Paris and is today represented by Kewenig in Berlin.

A significant part of Frieberg’s process consists of being in and painting from nature in places that are important to her around the world. Colors and moods from these places – as well as an investigation of concepts such as scale, rhythm and time, form an essential part of her process. Based on sketches and color schemes, which she makes outdoors, she creates abstract paintings in larger formats in her studio.

Frieberg’s paintings have a minimalist expression, created with rich jewel tones in beautiful combinations, she often uses details in shimmering gold and always paints on linen. In her totally unique paintings there are still subtle hints to art history, Sigmar Polke and Agnes Martin have been named as sources of inspiration and the gold paint is a symbol often used in art, found with Giotto di Bondone (1267–1337), Gustav Klimt and in iconographic paintings.

In several of her works from the mid–2010s, she experiments with the characteristics and expression of the linen canvas. In the exhibition Dying on stage at Galleri Wallner in 2014, she investigated the aesthetic qualities of the stretcher bars and the canvas. On several of the paintings, she mounted the canvas so that its outermost edges were folded

outwards instead of being, as usual, stapled to the back of the painting. The work in the auction Untitled (Blue, Gold, Center, Beam) is one of these works. It had a central role in the exhibition at Galleri Wallner and is one of the first larger paintings where Frieberg let the edges of the canvas open up the painting in this way.

The monumental work White Black Death Gold (Center Beam) was exhibited at gallery Kewenig in Berlin in 2020 and is the largest work in the series of the same name. The painting combines strict graphic lines, produced by meticulous and time-consuming taping, and freer expressive brush strokes that together create a wave-like movement on the canvas.

Elisabeth Frieberg has been awarded several scholarships, including in 2010 from The Baertling Foundation where she received it for ‘using painting to express her interest in the landscape, whether it concerns Cutár in Spain or her beloved Sörmland. In Bærtling’s spirit, she succeeds in making the apparently minimalist surface of lines or of pure fields of color vibrate. And like Bærtling, she sees the paintings as part of something bigger [...].’

Frieberg’s work is included in several private and public collections, such as the Moderna Museet, the Swedish Arts Council and the Aguéli Museum in Sala. In Magasin III’s collection, there are a total of sixteen paintings, seven of which relate to her stay in the desert outside Taos, USA, in 2013.

264. Elisabeth Frieberg, ‘White, Black, Death, Gold’.

268. Tomas Lundgren (Sweden, 1985–) ‘Mask 1.1’.

Signed Tomas Lundgren and dated 2014 verso.

Oil on canvas 250 x 200 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Exhibitions: Galleri Thomas Wallner, Simris, "Tomas Lundgren

– Appearance through Absence’, 14 March – 19 April 2015.

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380 (d)

269. Hanna Sjöstrand (Sweden, 1978–) ‘Bruises no 8’ (Blåmärke: Viktor Kopp).

Signed Hanna Sjöstrand and dated 2012 verso. Oil on MDF 168 x 120 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – A Collection of Nordic Contemporary Art.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

269A. Nicklas Randau (Sweden, 1989–) ‘Rilke describes grey and doves’.

Signed Nicklas Randau and dated Stockholm 2018. Canvas 190 x 210 cm.

Provenance: Galleri Thomas Wallner, Simris.

Relocating – a Private Collection of Nordic Contemporary Art, Sweden.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

Dan Wolgers

Dan Wolgers is one of Sweden’s most esteemed and controversial contemporary artists. His art is filled with playfulness, humour and absurd ideas, and his ability to distort, provoke and retort leave few viewers untouched. In a well-timed and an unerring way he presents a fresh view of life and of seemingly meaningless objects.

The auction’s ‘Fångsten’ is a unique painted bronze sculpture made in 2005 and exhibited at Lars Bohman Gallery the same year. The fishing boy in bronze is an enlarged bric-a-brac porcelain figure, with a head from another figure in his basket. The effect is dreamlike, is the scene actually taking place in the boy’s head?

Later on, in 2007, another three bronze sculptures with the same expression were made, they were named ‘Nattfiskare’. One of them is placed at the famous Stockholm restaurant Taverna Brillo. Of this sculpture, Dan Wolgers said:

‘Eternally on the way, with eyes closed, the figure stops a blow and rests his mighty head in a basket on his back. He wears his head, but is himself carried, by a thread thin as a dream, or a dream thin as a thread. It is the bronze sculpture Nattfiskare who fishes dreams for the entire area. A colossal catch in the basket.’

369. Dan Wolgers, ‘Fångsten’.

Ulla Wiggen

Ulla Wiggen (b. 1942, Stockholm) made her debut in the early 1960s with her much noticed ‘electronic series’. During a period between 1963 and 1969 she created about thirty of these paintings, including the painting in the auction Sändare [Transmitter], from 1968. Wiggen’s unique postmortem of technology creates an exciting encounter between the recognisable and the brand new.

In the last ten years Wiggen has made a remarkable comeback. In 2013 Moderna Museet ‘rediscovered’ Wiggen as they exhibited her paintings from the 1960s and 70s in the exhibition Moment – Ulla Wiggen . After a pause of nearly thirty years she began painting again. She now finds

her subjects within the body – be it the brain, parts of the skeleton, ribs or intestines. Yet the paintings still resemble the electronic series in their construction. In 2016 Wiggen made her first painting of an eye’s iris, a series of works for which she has recently gained a lot of attention. The depictions take several months to finish due to their precision and exactness, painted as they are with the very finest of brushes.

In 2022, the same year that Wiggen celebrated her 80th birthday, she exhibited at the Venice Biennale. Prior to this she had had several solo shows and in 2019 was on the cover of the prestigious art magazine Artforum . Included in Moderna Museet’s collections are both older

electronics paintings and newer pieces depicting irises. In 2023 twenty large reproductions of her work will be on show on the walls of Gärdet underground station in Stockholm.

The painting in the auction, Sändare, was executed during a period after Wiggen had spent time in New York and worked as an assistant to Öyvind Fahlström. Fahlström had asked Wiggen if she wanted to work for him at a party at the home of the then director of Moderna Museet, Pontus Hultén. When she finally arrived in New York she quickly became part of the art scene there and the years between 1965 and 1966 came to shape her as an artist. After her 1968 debut exhibition at Galerie Prisma

in Stockholm, where she showed her electronics series, she abandoned that body of work in place of the portraits that would come to distinguish her painting throughout the 1970s. Today we are fascinated by the way Wiggen chose to depict electronic components and circuit boards so early on, and how she was already then ahead of her time.

306. Ulla Wiggen, ‘Sändare’.

270. Lisa D Manner (Sweden, 1979–) ‘Islands’.

Signed Lisa D Manner and dated 2011 verso. Oil on panel 40 x 30 cm.

Provenance: Peter Bergman Gallery, Stockholm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

271. Peter Frie (Sweden, 1947–) Untitled.

Signed P Frie and dated -18 verso. Oil on canvas laid on panel 45.2 x 24 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

272. Martin Wickström (Sweden, 1957–) ‘Vieille A II’.

Signed Martin Wickström and dated 2018 verso. Canvas 60 x 60 cm.

Estimate: SEK 50 000 – 60 000 / EUR 4 460 – 5 360 (d)

Signed Jim Thorell and dated 2015. Canvas 200 x 140 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

Signed Lars Lerin and dated 96. Watercolour and collage on paper 57.5 x 73.5 cm.

Estimate: SEK 150 000 – 200 000 / EUR 13 380 – 17 850 (d)

Signed KN and dated 2014 verso. Fake fur and epoxy on foamcore in aluminium frame 170 x 131 cm.

Provenance: Carl Kostyál, Stockholm. Private Collection.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d) 12% Import VAT will be charged on the hammer price on this lot.

273. Jim Thorell (Sweden, 1981–) ‘Burnt matches in the sand’.

274. Lars Lerin (Sweden, 1954–) Untitled.

275. Karl Norin (Sweden, 1982–) ‘Hubba Bubba’.

276. Andreas Eriksson (Sweden, 1975–) ‘Glance’.

Signed Andreas Eriksson and dated Medelplana 2014 verso. Panel 47 x 29 cm.

Provenance: Galleri Riis, Oslo. Acquired by the present owner in 2014.

Exhibitions: Galleri Riis, Oslo, Art Basel, Basel, 2014.

Estimate: SEK 100 000 – 125 000 / EUR 8 920 – 11 150 (d)

277. Ellisif Hals (Norway, 1981–) ‘Park 6’.

Signed Ellesif Hals verso. Executed in 2014. Collage with drypoint etchings 34.5 x 64.5 cm.

Provenance: AnnaElle Gallery, Stockholm.

Exhibitions: AnnaElle Gallery, Stockholm, ‘Malogrado’, 2014.

Bonniers Konsthall, Stockholm, Maria Bonnier Dahlin Grant Recipient's exhibition, 2014.

Literature: AnnaElle Gallery, Stockholm, ‘Malogrado’, 2014, illustrated.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

278. Lars Englund (Sweden, 1933–) ‘Pars pro toto’.

Signed Lars Englund and dated 1980. Black sintered steel, height 47 cm.

Provenance: Acquired from the artist.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

279. Jesper Nyrén (Sweden, 1979–) ‘Elements 13’.

Signed J. Nyrén and dated 2020 verso. Oil and bees wax on canvas 95 x 71 cm.

Provenance: Galerie Forsblom, Stockholm.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

280.

Signed Anders Knutsson and dated 1981. Oil and wax on handmade paper 79 x 104 cm.

Estimate:

281. Husk Mit Navn (Denmark, 1975–) ‘The Buff’.

Signed Huskmitnavn and dated 2017, also signed verso. Canvas 80 x 100 cm.

Provenance: V1 Gallery, Copenhagen, 2017.

Exhibitions: V1 Gallery, Copenhagen, ‘Work It’, 2017.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

Anders Knutsson (USA, 1937–) Untitled.

283. Linn Fernström (Sweden, 1974–) ‘Spelande’.

Signed Linn Fernström and dated 2008 verso.

Pencil on paper 82 x 66 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Exhibitions: Galleri Lars Bohman, Stockholm, ‘Linn Fernström’, 30 augusti - 28 september 2008

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

282. Marie-Louise Ekman (Sweden, 1944–) ‘Det här är en tavla’.

Signed M.L Ekman and dated 1999. Panel 41 x 30 cm.

Provenance: Galerie Aronowitsch, Stockholm. Stockholms Auktionsverk, acquired in 2003. Private Collection, Stockholm.

Exhibitions: Galerie Aronowitsch, Stockholm, September 1999, cat no. 80.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

284. Björn Wessman (Sweden, 1949–) ‘Cabriéres’.

Signed Björn Wessman and dated 2004 verso. Canvas 170 x 225 cm.

Provenance: Acquired from the artist.

Literature: Björn Wessman, ‘Mänga’, Bokförlaget Arena, Värnamo 2007, compare ‘Carriére’, illustrated full page cat. no 252.

Estimate: SEK 100 000 – 150 000 / EUR 8 920 – 13 380 (d)

285. Astrid Sylwan (Sweden, 1970–) ‘For a brief moment it was all clear’.

Signed Astrid Sylwan and dated 2008 verso. Acrylic on canvas 170 x 140 cm.

Estimate: SEK 70 000 – 90 000 / EUR 6 250 – 8 030 (d)

286. Charlotte Gyllenhammar (Sweden, 1963–) ‘Baby’ from the work Daghem.

Signed C.G. and dated 2004. Edition 2/2 + 1 AP. Polyester, epoxy/gelcoat 60 x 20 cm.

Provenance: Galleri Mårtenson & Persson, Båstad

Exhibitions: Galleri Mårtenson & Persson, Båstad, ‘Privat idiot’, 2006.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

287. Anna Bjerger (Sweden, 1973–) ‘Stride’.

Signed Anna Bjerger and dated 2015 verso. Oil on aluminum 125 x 85 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

288. Per Fhager (Sweden, 1980–) ‘Chrono Trigger’.

Signed PF verso. Executed 2020. Diagonal stitch variations mounted to canvas 76 x 87 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

289. Dan Wolgers (Sweden, 1955–) ‘Källa (Candle-stick)’. Height 11.5 cm. Silver-plated bronze, 2007, edition of 100.

Provenance: Lars Bohman Gallery, Stockholm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900 (d)

290. Lars Lerin (Sweden, 1954–) ‘Lofoten’.

Signed Lars Lerin and dated 2020. Watercolour on paper 75 x 106 cm.

Estimate: SEK 200 000 – 250 000 / EUR 17 850 – 22 310 (d)

291.

Signed Alfred Boman and dated 2013 verso. Mixed media on canvas in artist's frame 141.6 x 104.5 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

292.

Signed Love Lundell and dated MMXII. Mixed media on panel 44 x 40 cm.

Provenance: Wetterling Gallery, Stockholm.

Estimate:

293. Sigrid Sandström (Sweden, 1970–) Untitled.

Signed Sigrid Sandström and dated 2017 verso. Panel 35 x 28 cm.

Provenance: Galleri Gunnar Olsson, Stockholm. Acquired by the present owner in 2017.

Exhibitions: Galleri Gunnar Olsson, Stockholm, Market Art Fair, 2017.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

Alfred Boman (Sweden, 1981–) Untitled.

Love Lundell (Sweden, 1981–) ‘Törst efter tårar’.

294. Truls Melin (Sweden, 1958–2022) ‘Mudderverk’. Executed in 2000. Painted centafoam, wood and metal 94 x 19 x 25 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

295. Markus Åkesson (Sweden, 1975–)

‘Psychopomp club (Chicken skeleton)’. Signed Markus Åkesson and dated 2012 verso. Canvas 100 x 150 cm.

Provenance: Vida konsthall, Öland.

Exhibitions: Vida Museum & Konsthall, Öland, ‘Markus Åkesson’, 18 August - 30 September 2012.

Kalmar Konstmuseum, Kalmar, ‘Sleeping Beauty’, 10 February - 29 April 2018.

Literature: Fanny Giniès and Markus Åkesson, ‘Markus Åkesson Paintings’, 2015, illustrated on spread.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

296. Anders Knutsson (USA, 1937–) Untitled.

Signed Anders Knutsson and dated 1981. Oil and wax on handmade paper 79 x 103 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

297. Johanna Karlsson (Sweden, 1968–) ‘Scen XVIII’.

Signed Johanna Karlsson on label verso. Executed in 2021. Plaster, paper, pigment, metal wire, oak and artglass, 43.5 x 33.7 x 19.5 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Exhibitions: Galleri Magnus Karlsson, Market Art Fair, Liljevalchs, Stockholm, 17-19 September 2021.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

Signed with monogram EB. Oil on panel 82 x 65 cm.

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380 (d)

Signed Clay Ketter and

2007 verso. Mixed media on panel 116 x 114

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

Signed L Göthman

2011

Canvas 27 x 22 cm.

Estimate: SEK 15 000 – 18 000 / EUR 1 340 – 1 610 (d)

298. Clay Ketter (Sweden, 1961–) ‘Was Is’.

dated

cm.

299. Lukas Göthman (Sweden, 1970–) Untitled.

and dated

verso.

297A. Ernst Billgren (Sweden, 1957–) ‘Hermelinens syn’.

300. Lars Englund (Sweden, 1933–) Untitled.

Oil varnish on plastic film

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

301. Torsten Andersson (Sweden, 1926–2009)

‘Träskulptur målad med falurödfärg II’.

Signed Torsten verso. Executed 2007. Oil on canvas 150 x 128.5 cm.

Provenance: Galleri Brändström & Stene, Stockholm. Private Collection, Stockholm.

Estimate: SEK 200 000 – 250 000 / EUR 17 850 – 22 310 (d)

302. Jan Håfström (Sweden, 1937–) ‘Skogsaltare I och II’.

Signed Jan H underneath. Diptych. Original instructions included. Painted plywood, plastic grass, plastic trees. Each part 36.5 x 25 x 9 cm.

Provenance: Directly from the artist to the present owner.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

303A.

Signed Johanna Aalto and dated 2015 verso. Panel 120 x 120 cm.

Provenance: Galleri Gunnar Olsson, Stockholm

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070 (d)

Signed verso. Executed in 1994-95. Oil on canvas on panel 50.5 x 60.5 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Estimate: SEK 35 000 – 40 000 / EUR 3 130 – 3 570 (d)

Signed EB, edition 1/7. Patinated bronze, wooden base. Height 35 cm, length 59 cm and depth 35 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

Johanna Aalto (Sweden, 1974–) Untitled.

304. Peter Frie (Sweden, 1947–) ‘Landskap’.

305. Ernst Billgren (Sweden, 1957–) ‘En skalbagges begravning’.

303. Withdrawn

306. Ulla Wiggen (Sweden, 1942–) ‘Sändare’.

Signed UW and dated 68. Acrylic on panel 45 x 100 cm.

Provenance: Acquired from the artist.

Estimate: SEK 150 000 – 200 000 / EUR 13 380 – 17 850 (d)

307. Ulf Wahlberg (Sweden, 1938–2014) ‘Bil i landskap’.

Signed Ulf Wahlberg and dated 73-75. Canvas 100 x 79 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

308. LG Lundberg (Sweden, 1938–) ‘Blå Kuddar nr. 12’.

Signed LG Lundberg and dated 1974 verso. Oil on canvas 72 x 60 cm.

Provenance: Galleri Mårtenson & Persson, Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

309. Lena Cronqvist (Sweden, 1938–) ‘November’.

Signed Lena Cronqvist and dated -65. Canvas 100 x 81 cm.

Exhibitions: Liljevalchs konsthall, Stockholm, ‘Lena Cronqvist’, 2 September – 16 October 1994, listed in the list of works under the years 1965–1967, cat. no 12.

Göteborgs konstmuseum, Gothenburg, ‘Lena Cronqvist. Retrospektivt. Måleri skulptur teckningar" 22 October - 30 November 1994.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

311. Dick Bengtsson (Sweden, 1936–1989) ‘Målning’.

Signed Dick Bengtsson. Executed in 1986. Mixed media on panel 70.4 x 122 cm.

Provenance: Stockholms Auktionsverk, 22 May 2012. Private Collection, Sweden.

Exhibitions: Lunds Konsthall, ‘Dick Bengtsson’, 1994. Göteborgs Konstmuseum, Gothenburg, ‘Dick Bengtsson’, 13 January – 25 March 2001.

Moderna Museet, Stockholm, ‘Dick Bengtsson’, 21 January – 30 April 2006.

Literature: Mårten Castenfors (ed.), ‘Dick Bengtsson’, SAK, 2005, illustrated on p. 150.

Estimate: SEK 150 000 – 200 000 / EUR 13 380 – 17 850 (d)

310. Lars Englund (Sweden, 1933–) ‘Borderline och relief’.

Signed Lars Englund and dated 99. Diptych. Wire sculpture, diameter 27 cm. Paper relief 32 x 32 cm.

Provenance: Stockholms Auktionsverk, acquired in november 2006 by the present owner.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

312. Cecilia Edefalk (Sweden, 1954–) ‘Rose’. Executed in 2010. Unique. Bronze, height 43 cm.

Provenance: carlier gebauer, Berlin.

Exhibitions: carlier gebauer, Berlin, Art Basel Hong Kong, 2018.

Estimate: SEK 150 000 – 200 000 / EUR 13 380 – 17 850 (d)

313. Paul Fägerskiöld (Sweden, 1982–) ‘Poppy Field’. Executed in 2011. Oil on canvas 200 x 284 cm.

Provenance: Milliken Gallery, Stockholm.

Exhibitions: Milliken Gallery, Stockholm, ‘Color Pattern Yellow Danger (KP Brehmer, Paul Fägerskiöld, Lucy Skaer)’, 22 January – 26 February 2011.

Estimate: SEK 175 000 – 200 000 / EUR 15 620 – 17 850 (d)

314. Peter Frie (Sweden, 1947–) ‘Eliopainting No. 059’. Oil on panel 15 x 10.5 cm.

Provenance: Arnstedt & Kullgren, Östra Karup.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

315.

1953–) ‘from ‘Opera’ no. 3’.

Signed Widoff, also signed Anders Widoff and dated 1985-86 verso. Canvas 200 x 64 cm.

Provenance: Galerie Leger, Malmö

Exhibitions: Galerie Leger, Malmö, ‘Opera’ 5 May – 5 June 1988. Liljevalchs Konsthall, Stockholm, ‘Anders Widoff: (att) bära sig’, 16 April – 5 June 2005.

Estimate:

316.

Signed Eva Hild and dated 02. Unique. Ceramic, height ca 25 cm, 37 x 45 cm.

Provenance: Galleri Inger Molin, Stockholm.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

Signed Rolf Hanson and dated 1991 verso. Panel 122 x 122 cm.

Provenance: Galleri Riis, Olso.

Private Collection.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

Anders Widoff (Sweden,

Eva Hild (Sweden, 1966–) Untitled.

317. Rolf Hanson (Sweden, 1953–) ‘Osaumo’.

Signed Lars Lerin and dated 2001. Watercolour on paper 102 x 150 cm.

Provenance: Private Collection, Stockholm.

Estimate: SEK 300 000 – 400 000 / EUR 26 770 – 35 690 (d)

Signed K. Kristalova and dated 2007. Glazed ceramic, height 29 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Estimate:

‘Untitled (blue, gold, center, beam)’.

Signed E. Frieberg verso. Executed in 2014. Oil on canvas, pin, 152 x 152 cm.

Provenance: Galleri Thomas Wallner, Simris.

Exhibitions: Galleri Thomas Wallner, Simris, ‘Dying on Stage: New Paintings by Elisabeth Frieberg’, 6 September – 12 October 2014.

Estimate: SEK 100 000 – 150 000 / EUR 8 920 – 13 380 (d)

318. Lars Lerin (Sweden, 1954–) ‘Hemtrakter’.

319. Klara Kristalova (Sweden, 1967–) ‘Uppföljare’.

320. Elisabeth Frieberg (Sweden, 1977–)

321. Håkan Rehnberg (Sweden, 1953–) Untitled.

Signed Håkan Rehnberg and dated 2000 verso.

Oil on acrylic glass 120 x 135 cm.

Provenance: Galerie Nordenhake, Stockholm.

Exhibitions: Galerie Nordenhake, Stockholm. Liljevalchs Konsthall, Stockholm, ‘Håkan Rehnberg, Valfrändskaper’, 2002.

Literature: Bo Nilsson and others (ed), ‘Håkan Rehnberg, Valfrändskaper’, 2002, Liljevalchs konsthall, illustrated full-page p. 100.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

322. Linn Fernström (Sweden, 1974–) ‘Huvudslunga’.

Signed Linn Fernström and dated 2007 verso. Canvas 60 x 75 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

323. Martin Wickström (Sweden, 1957–) ‘Spis’.

Signed Martin Wickström and dated 2001. Toy Stove.

Height 32 cm, length 24 cm, depth 24 cm.

Provenance: Galleri Göran Engström, Stockholm.

Exhibitions: Galleri Göran Engström, Stockholm, ‘Circus’, October 2001.

Literature: Greger Ulf Nilson (ed.), ‘10_20 Martin Wickström’, 2021, illustrated p. 117 and listed under ‘Circus’ in the list of works p. 129.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070 (d)

Signed Clay Ketter and dated 2010 verso. Diptych.

Mixed media with assemblage behind resin, each 67 x 69.5 cm.

Provenance: Galleri Mårtenson & Persson, Stockholm.

Bukowskis, ‘Contemporary Art & Design 602’, 25 October, 2017, cat. no 88. Private Collection.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

Signed Jens Fänge and dated -03 verso. Oil on canvas 50 x 60 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

Signed Lotta Hannerz and dated 2007 verso. Canvas 65 x 81 cm.

Provenance: Knäpper+Baumgarten, Stockholm Private Collection, Stockholm.

Exhibitions: Knäpper+Baumgarten, Stockholm, ‘Lotta Hannerz 110%’, 23 August – 23 September 2007.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

324. Jens Fänge (Sweden, 1965–) ‘Painting’.

325. Lotta Hannerz (Sweden, 1968–) ‘Huvudvittnen’.

326. Clay Ketter (Sweden, 1961–) ‘Carlo Rossi’.

327. Jan Håfström (Sweden, 1937–) ‘Corpus I’.

Signed verso and dated 1990. Oil on panel 180 x 59.5 x 13 cm.

Exhibitions: Galeria Ugo Ferranti, Rome, Italy.

Moderna Muséet, Stockholm and Rooseum Center for Contemporary Art, Malmö, ‘Jan Håfström och Jan Håfströms urval ur MM:s samlingar’, 12 November 1994–8 January 1995, cat. no 221.

Literature: Katarina Frostenson, ‘Jan Håfström – Rooseum’, Skogs Boktryckeri AB, Trelleborg, 1994, illustrated full-page p. 68.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

328.

Signed P.O. Ultvedt and numbered No. 3 verso. Relief, wall object with electric motor 61.5 x 61.5 x 12 cm.

Estimate:

329.

Signed Hillersberg and dated -60. Mixed media, collage on panel 86.5 x 109 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

Per Olof Ultvedt (Sweden, 1927–2006) ‘III Blå’.

Lars Hillersberg (Sweden, 1937–2004) Untitled.

Linn Fernström

Linn Fernström’s painting in the auction, ‘ Övermålat ’, was exhibited at the Lars Bohman Gallery in Stockholm in 2014. The show was reviewed in the daily Svenska Dagbladet:

“She crashed onto the Swedish art scene almost 15 years ago, dividing it into two camps. Linn Fernström has undeniably aroused strong feelings every time she has stretched a piece of linen cloth across a sturdy frame and held her paintbrush against the canvas. It is easy to recognise Fernström’s hand in the new works, shown at Bohman. The formats are large, the palette rich and the brushwork is powerful. The figures resemble ones we’ve met before. A young woman, who shares the artist’s features, wanders alone with her thoughts, closed off and mysterious, yet exposed to our gaze. A screaming naked baby reaches its arms towards empty space. Monkeys dance. Wide-eyed children with serious expressions, as if no one taught them how to laugh. They are all there, surrounded by gigantic budgerigars, mayflies, smaller birds and clusters of balloons. These recurrent motifs are yet to be worn out. They continue to be the bearers of enigmatic histories.

Fernström’s painted worlds are ablaze with colour. If bright on the surface they are pitchblack within. There is something worryingly threatening in these scenes, oscillating between the white in the background and the blood-red that is almost dripping off the canvases.” (Extract from Joanna Persman’s review in Svenska Dagbladet, 27/8/2014)

Linn Fernström is an artist of contrasts. Extremes meet in her often large canvases; the beautiful encountering the grotesque, the idyllic clashing with terror, the ethereal mixed with power, and the momentous interplaying with the trivial. When all is said and done perhaps Fernström is an artist who paints ‘Life’. Without judging the ingredients that fill our days and years with events and impressions according to some assumed criteria, Fernström allows them to figure indiscriminately and interact together in a place decided upon by the artist. Fernström is a conductor who with an iron fist leads an experimental orchestra. Does this sound paradoxical? Perhaps, but therein lies her particular strength and originality.

Linn Fernström holds a unique position in Swedish contemporary art. Headstrong and insistent, completely uninterested in trends, she has created her own platform. And she is liberatingly brave too – painting large and figuratively in a time when, for many years now, art discourse has focused on research and process.

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.

330. Linn Fernström, ‘Övermålat’.

330. Linn Fernström (Sweden, 1974–) ‘Övermålat’.

Signed Linn Fernström and dated 2014 verso. Oil on canvas 190 x 242 cm.

Provenance: Lars Bohman Gallery, Stockholm. Acquired in 2014 by the present owner.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Linn Fernström, Talk bubble on a straw’, 21 August – 21 September 2014.

Estimate: SEK 500 000 – 600 000 / EUR 44 610 – 53 530 (d)

331. Anna Bjerger (Sweden, 1973–) ‘Antique’.

Signed Anna Bjerger and dated 2011 verso. Oil on aluminum 40 x 30 cm.

Provenance: Galerie Gabriel Rolt, Amsterdam. Private Collection, Netherlands.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

332. Withdrawn

332A. Ernst Billgren (Sweden, 1957–) ‘Naturutsikt’.

Signed with monogram EB. Signed Ernst Billgren and dated -90 verso. Panel in artist’s frame 53.5 x 62.7 cm.

Provenance: Galleri Lars Bohman, Stockholm. Tingsryd Art Lottery.

Stockholms Auktionsverk, Nutida, 2015-05-11.

Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)

Signed Ulrik Samuelson and dated -08 verso. Goldleaf and painting on glass, framed 76 x 76 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

Signed Jacob Dahlgren and dated 2001 verso. Panel 35 x 48 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Estimate:

Signed Anders Knutsson and dated 1980 verso. Oil and wax on canvas 130 x 126 cm.

Provenance: Bukowski Auktioner, ‘Anders Knutsson H034’, 3 April 2011, cat. no 16.

Estimate: SEK 40 000 – 60 000 / EUR

333. Ulrik Samuelson (Sweden, 1935–) Untitled.

334. Jacob Dahlgren (Sweden, 1970–) ‘Peinture abstraite (medium) numéro dix’.

335. Anders Knutsson (USA, 1937–) ‘Rose #2’.

Rolf Hanson’s painting oscillates between the abstract and the figurative as well as between surface and depth. He has formed his unique and personal expression, filled with energy and rhythm, from these contradictions. Regardless of whether he is working on a series of e.g. stairs and houses or letting the color play freely in abstract compositions, the tension between the spatial and the flat image surface of the canvas is ever-present. However, color always has a central place in his art and gives the paintings a harmony of their own. In an interview in connection with the ongoing exhibition at Pumphusets Konsthall in Landskrona, Hanson likened his creation to music: ” - It is much like a composer who writes a piece of music, it’s about achieving balance. Composition is one thing, the color palette is another. It’s about combining them”.

During his career, Rolf Hanson has tackled various series of motifs, but the series that is considered central and most praised is Runtom trappa , which was also his big breakthrough. In 1999 he was awarded first prize in the prestigious Carnegie Art Award for Runtom trappor IV, V and VI and then described the origin of the series: - ”During a stay in Grez-sur-Loing, France I decided to walk to Montigny-sur-Loing and see a famous staircase that is there. I then the subject matter so interesting reality that I wanted to set about the task of trying to make a painting of it to take home to Sweden, as a memory from my stay in France.

– It is the same staircase as in Carl Fredrik Hill’s painting from 1876. How has he influenced you?

– Influenced? I think he is a very good painter! It was inspiring to use the same motif as Hill and then make my own version of the stairs.

– The colors red and yellow in contrast with dark areas are constantly recurring in your paintings. Do these colors mean something special to you?

– No color is more important than the other. I try to relate to the colors as freely as possible in order to explore them as far as possible”.

The auction’s painting is an impressive example of Rolf Hanson’s ability to let the image surface remain open and closed simultaneously. The staircase rises upwards and invites the viewer’s gaze to wander into the image, resulting in an almost dizzying experience. The color seems to flow down the steps while the balance is maintained by the play between light and shadow. Hanson has described the staircase in the following words: ”A staircase is such a common feature of the private and public architecture we move around on a daily basis that we hardly notice it – provided, of course, that we move without difficulty and the stairs, therefore, do not constitute an obstacle. Seen with a painter’s eye, the staircase becomes a challenge of a different kind: its smooth transition between vertical and horizontal planes and its perspectival qualities make the staircase as interesting as it is a difficult object to depict, both in terms of the play of light and lines”.

339. Rolf Hanson, ‘Runtom trappa’.

Rolf Hanson

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380 (d)

338.

Signed Lotta Hannerz and dated 2015. Bronze, found objects and mixed media, height 25 cm.

Provenance: Galerie Forsblom, Stockholm.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070 (d)

336. Andreas Eriksson (Sweden, 1975–) ‘Almoso 20’. Signed and dated 2000 verso. Monotype, paper 69 x 61 cm.

337. Peter Frie (Sweden, 1947–) Untitled. Signed P. Frie and dated -99 verso. Oil on panel in artist's frame 180 x 120 cm.

Lotta Hannerz (Sweden, 1968–) ‘Quest’.

339. Rolf Hanson (Sweden, 1953–) ‘Runtom trappa’.

Signed Rolf Hanson and dated 2008 verso. Oil on panel 140 x 130 cm.

Provenance: Galleri Örsta, Kumla. Private Collection.

Estimate: SEK 1 200 000 – 1 500 000 / EUR 107 050 – 133 810 (d)

340. Peter Frie (Sweden, 1947–) ‘Same time tomorrow no 34’.

Signed P Frie and dated -02. Oil on canvas 30 x 25 cm.

Estimate: SEK

341. Peter Bonde (Denmark, 1958–) Untitled.

Executed 1998. Canvas 130 x 100 cm.

Provenance: Galerie Asbæk, Copenhagen.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

342. Sigrid Sandström (Sweden, 1970–) Untitled.

Signed Sigrid Sandström and dated 08-10 verso.

Acrylic on panel 45.7 x 61 cm.

Provenance: Acquired in 2010.

Exhibitions: Syskonen Kajsa och Olle Nymans Ateljéer och konstnärshem, Saltsjö-Duvnäs, ‘Sigrid Sandström’, 2010.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

343. Carl Hammoud (Sweden, 1976–) ‘Reconstruction’.

Signed Carl Hammoud and dated 2009 verso. Graphite on paper 50 x 65 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

344. Meta Isæus-Berlin (Sweden, 1963–) ‘Peace in my Purse’.

Signed Meta Isæus-Berlin and dated 2004 verso.

Oil on canvas 105 x 130 cm.

Provenance: Andréhn-Schiptjenko, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

345. 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: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

Signed Fredrik Wretman and dated 2006. Polyurethane. Height 30 cm.

Exhibitions: Galleri Flach, Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

347.

Signed Wessman. Also signed Björn Wessman and dated 2001 verso.

90 x 200 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

346. Fredrik Wretman (Sweden, 1953–) ‘Minitrans’.

Björn Wessman (Sweden, 1949–) ‘Wisteria’.

Canvas

348. Alfred Boman (Sweden, 1981–) ‘Barking medicini/ toddler eyes’.

Signed Alfred Boman and dated 2014 verso. Mixed media on canvas 190 x 145 cm.

Provenance: Galerie Nordenhake, Stockholm.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

349. Hans Lannér (Sweden, 1944–) ‘Erik och Elsa’.

Signed Hans Lannér verso. Canvas 46 x 55 cm.

Provenance: Galerie Ahlner, Stockholm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900 (d)

350. Matthias van Arkel (Sweden, 1967–) ‘Stripe Painting’.

Signed MvA. Silicone rubber 57.5 x 54 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

351. Lars Lerin (Sweden, 1954–) ‘Untitled’.

Signed Lars Lerin and dated 2020. Watercolour on paper 101 x 152 cm.

Estimate: SEK 300 000 – 400 000 / EUR 26 770 – 35 690 (d)

352. Jacob Dahlgren (Sweden, 1970–) ‘Peinture abstraite (medium) numéro cent-huit’.

Signed Jacob Dahlgren and dated 2003 verso. Acrylic on MDF 47 x 42 cm.

Provenance: Galleri Mårtenson & Persson, Båstad.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

353. Per Fhager (Sweden, 1980–) ‘Sparkster’ from Field Study series.

Signed PH and dated 2013 verso. Double gobelin stitch and wool 85 x 98.5 cm.

Provenance: Stene Projects, Stockholm.

Exhibitions: Stene Projects, Stockholm, VOLTA NY Art Fair, ‘Field Studies’, 2015.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

354. Love Lundell (Sweden, 1981–) ‘Docking’.

Executed 2019. Oil on canvas 200 x 170 cm..

Provenance: Wetterling Gallery, Stockholm.

Exhibitions: Wetterling Gallery, Stockholm, ‘Sentimentally Yours, The Red Forest’, 7 November – 14 December 2019.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

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

Signed P. Andiné and dated 97. Panel 22 x 90 cm.

Estimate:

356. Ann Edholm (Sweden, 1953–) ‘Die’.

Signed Ann Edholm and dated -00 verso. Canvas 247 x 232 cm.

Provenance: Galerie Nordenhake, Stockholm.

Bukowski Auktioner, ‘Contemporary’, 2013, auction 576, 2013, cat no. 392. Private Collection.

Exhibitions: Galerie Nordenhake, Stockholm, ‘Ann Edholm – New Paintings’, 2 September – 1 October, 2000.

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380 (d)

357. Eva Hild (Sweden, 1966–) Untitled.

Signed Eva Hild and dated 02. Unique. Ceramic, height 24 cm, width 37 cm.

Provenance: Höganäs Museum, Höganäs.

Acquired from the above by the present owner.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

358. Lisa Jonasson (Sweden, 1978–) ‘I am sorry on behalf of everything that doesn't exist’.

Signed Lisa Jonasson and dated 2011 on verso. Collage on paper 50 x 64.5 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Acquired from the above by the present owner at Frieze Art Fair, London.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

359. Ylva Snöfrid (Ogland) (Sweden, 1974–) ‘Pappa’.

Signed Ylva Ogland and dated 2013 verso. Oil on canvas 180 x 220 cm.

Literature: Bonniers Konsthall and Silvana Editoriale, ed. Sara Arrhenius and others, ‘Ylva Ogland, She, an introduction’, Stockholm, 2015, illustrated full-page p. 47.

Estimate: SEK 100 000 – 125 000 / EUR 8 920 – 11 150 (d)

Karin Mamma Andersson

Karin Mamma Andersson’s painting Objekt was executed in the year 2000, when the millennium was fresh and exciting. That same year she exhibited the painting at Galleri Kavaletten in Stockholm. Could she have even imagined that twenty-five years later she would be considered one of Sweden’s most important contemporary artists, be represented by galleries in three countries, and that her work was to fetch record prices at auction?

The first decade of the 2000s was more or less a golden age for Mamma Andersson. She was productive, succeeding in creating some of her very best paintings, whilst at the same time being represented at major art fairs and biennales. The big breakthroughs came in quick succession, including being awarded the Carnegie Art Award in 2006 and a solo show at Moderna Museet in 2007.

In her long artistic career she merges several classic genres such as still life, landscape painting and interiors, yet her expression remains highly contemporary. The paintings are created as a kind of painterly collage, where image fragments, stories and motifs are joined together in multiple layers. Time and space are fractured, forming new, completely independent worlds.

The architectural elements in Objekt consist of the arch in the painting’s foreground, but also of the angular pools in the centre of the painting. The dramatic, dark landscape in the background is contrasted with an intimate family scene, where a mother, wearing a blue dress, is seated on the ground with her head bowed. Her child is looking away towards an area of snowcapped mountains in the bottom right-hand corner of the painting. Diagonally across the picture the artist has placed a flowering cherry blossom branch, not unlike those often seen in Japanese woodcuts. In Japan the cherry blossom is a symbol of the fleeting nature of life and a reminder to appreciate its beauty whilst there is still time. Perhaps it is also a reminder to the mother of all that will be missed if she takes her eyes off her child during those first hectic years when they develop so quickly.

The turned-away gazes are a recurrent theme in Mamma Andersson’s paintings. According to the artist the paintings are peopled by characters with their backs turned to the viewer, or with their faces turned away, because otherwise they would become too dominant in the painting. In an interview for the exhibition catalogue to her solo exhibition at Louisiana Museum of Modern Art in Denmark (2021) she ruminated on precisely this aspect: “[…] ‘You once said that a face steals energy from the rest of the painting.’

‘Exactly. I guess it’s about a certain discomfort. As soon as a figure has its face turned to you, your gaze stops there. That’s just the way it is. […] A gaze is very dominant, and I often feel a bit bothered by it. I think it comes down to shame. When I do paint faces, they are often the faces of dolls. It’s easier to meet an unreal person’s gaze, because it’s not an actual gaze. It may be hindsight, but I have often wondered why I shy away from the face. Maybe it’s just because it seems disturbing to me.’”

360. Karin Mamma Andersson, ‘Objekt’.

Provenance: Galleri Kavaletten, Stockholm, 2000.

Stockholms Auktionsverk, Moderna Kvalitén, 25 April 2007. Private Collection, Stockholm.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

Estimate: SEK 30 000 –

360. Karin Mamma Andersson (Sweden, 1962–) ‘Objekt’.

Signed Mamma Andersson and dated 2000 verso. Oil on panel 76 x 100 cm.

361. Andreas Eriksson (Sweden, 1975–) ‘Little Bird’.

Signed AE. Executed in 2008. Unique. Patinated bronze. Height 24.2 cm.

362. Linn Fernström (Sweden, 1974–) ‘Storfånget’. Signed Linn Fernström and dated 2005 verso. Indian ink and oil pastel on paper 66 x 50 cm.

Signed AE. Executed in 2010. Bronze, height 10 cm.

Provenance: Acquired from the artist by the present owner.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

Signed with monogram. Executed in 2008. Mixed media on panel 138 x 122 cm in artist’s frame.

Provenance: Bukowski Auktioner, Contemporary & Design 558, 17 November 2010. Private Collection.

Exhibitions: Galleri Bolin, Östersund, ‘Fem i Färg’, 23 December 2009–3 January 2010.

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380 (d)

Signed Lars Lerin and dated July 2019.

on paper 24 x 19 cm.

Estimate: SEK 70 000 – 80 000 / EUR 6 250 – 7 140 (d)

363. Andreas Eriksson (Sweden, 1975–) ‘Sorkhög’.

364. Lars Lerin (Sweden, 1954–) ‘Dyngö’.

Watercolour

365. Ernst Billgren (Sweden, 1957–) ‘Möte med natur’.

Ola Billgren

Formulating the relationship between art and reality as well as the ability to capture the moment in a unity between the historical and the contemporary runs like a common thread through Ola Billgren’s artistic practice. He has clearly defined the language of the image and tried to understand historically what role art and the artist has in their time. His visual art, especially that from the 1960s can seem more available in a very direct and almost cinematic way.

Målning’ from 1968–69, depicts a young woman sitting with her back to the beholder, a woman that likely has the main role in a larger reality that we can only imagine. A bright light shines into the room with new perspectives, which in one sense widens the beholder’s vision despite its finality. However, the actual action takes place closest to the viewer, where a doll thrown on the floor creates drama. The child on the right in the picture moves toward the mother in a hesitant forward movement. Is the woman alone in the room with the child? Is she waiting for someone or has someone just left the room? There is a suggestive atmosphere. The interpretation of reality has turned into doubt about what is reality.

Ola Billgren’s interest in finding role models in other visual fields, such as film, brought with it a composition with slanted perspectives, ”cut-in” details, close-ups that were “zoomed in” and taking over the main role in the image, which otherwise only suggests the presence of people. It also brought with it a narrative that was both laconic with a certain massmedia romanticism, but also evocatively inaccessible, in its motifs, which characterizes many of his paintings from this time. Målning 1968–69 is an exceptional example and a very important work from that particular time.

366. Ola Billgren, ‘Målning’.

366. Ola Billgren (Sweden, 1940–2001) ‘Målning’.

Signed Ola Billgren and dated -68–69 verso. Canvas 65 x 85 cm.

Provenance: Bukowski Auktioner, Stockholm, ‘Contemporary’, auction no 599, 16 May 2017, cat. no 101.

Private Collection.

Exhibitions: Rooseum, Malmö, ‘Ola Billgren, A Retrospective’, 14 May – 4 August. Moderna Museet, Stockholm, ‘Ola Billgren, A Retrospective’, 26 October – 8 December 1991.

Literature: Ola Billgren, ‘Ola Billgren. Målningar 1963-73’, Galleri 69 Gothenburg, Sweden, 1973, illustrated full page pl. 68; Douglas Feuk och Lars Nittve (ed.), ‘Ola Billgren – En retrospektiv. Album vol.1’, 1991, illustrated p. 41.

Estimate: SEK 1 000 000 – 1 500 000 / EUR 89 210 – 133 810 (d)

367. Linn Fernström (Sweden, 1974–) ‘Vrålet’.

Signed Linn Fernström and dated 2008 verso.

Pencil on paper 65 x 49.5 cm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Linn Fernström’, 30 August - 28 September 2008.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

368. Johan Furåker (Sweden, 1978–) ‘Flamboyant Ether Evenings (Florence)’.

Signed Johan Furåker and dated -14 verso. Oil on MDF 50 x 70 cm.

Provenance: Galleri Thomas Wallner, Simris.

Exhibitions: Galleri Thomas Wallner, Simris.

Galleri Flach, Stockholm, ‘Johan Furåker: Life of Leisure’, 2015.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

369. Dan Wolgers (Sweden, 1955–) ‘Fångsten’.

2005. Unique. Painted bronze, height 120 cm..

Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Group Show’, 19 November – 21 December 2005.

Estimate: SEK 200 000 – 250 000 / EUR 18 100 – 22 700 (d)

370.

1992–) ‘Rate (painting no 2)’.

Signed Daniel Fleur and dated 2018 verso. Canvas 189 x 150 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

1993. Unique. Plaster, height 28 cm, width 23.5 cm

27.5 cm.

Provenance: Galleri Krister Fahl, Stockholm. Acquired in the 1990s by the present owner.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070 (d)

Executed

Daniel Fleur (Sweden,

371. Bianca Maria Barmen (Sweden, 1960–) ‘Sanatorium’. Executed in

depth

Ola Billgren

In the last fifty years painting has been declared dead numerous times and also accused of being an art form that’s part of the patriarchy. But something has happened along the way and today the position of painting is no longer questioned, but rather strengthened or even given cult status. This new status is closely bound with a number of older painters, who nowadays have become distinguished as princes of the medium. I’m thinking about the artists Cy Twombly and Sigmar Polke, and perhaps even more about Gerard Richter, who today is celebrated across the world as a kind of elder statesman. Richter has always been considered a ‘difficult’ painter, with an impressive but elusive range to his painterly universe. These days this complexity has become something of a hallmark of his greatness.

Just like Richter, Billgren had a long relationship with painting, stretching back to the end of the 1950s. His breakthrough came, as it did for Richter, in the beginning of the 1960s when the image of reality changed radically by the media’s expansion of the world into a global village. However, neither Billgren nor Richter got stuck in virtuoso new realist painting. Billgren continued to explore the history of painting, with a problematisation of painting that questioned more than it consolidated. During the seventies Billgren spent a lot of time examining the foundations of classical painting, both in its subject matter as well as in its painterly qualities. He devoted himself to the study of such contrasting painters such as Hammershøi, Hopper, Titian and Bonnard. Yet the results were never straightforward references, but instead merged together into syntheses that were unique to Billgren. During the eighties Billgren came to concentrate on romanticism and its emotional centre. It was, however, always a romanticism within quotation marks, which explored and deconstructed the approach of romanticism itself rather than its emotional timbre. An important subject was the landscape, but not exactly the purely romantic landscape. Billgren’s landscapes were constructed from elements of photographic collage, complicating the experience of the landscape. Through the form of large panoramic paintings it wasn’t natural landscapes that were primarily exposed to his dissecting scrutiny, but urban landscapes instead.

The painting Terrain Vague (1987) is highly characteristic of Billgren’s production from the late eighties. Like in several paintings from this period one gazes down from a great height. In contrast to Utsikt från en katedral I (1987) and Utsikt från en katedral II (1988) it isn’t a static viewpoint like from a church tower. Here it is a moving viewpoint that’s the subject – easily identifiable as an aeroplane. From the aeroplane’s constant movement you look down upon the big city with its complicated infrastructure of intersecting roads and architectural environments. It’s a metropolis reaching as far as the eye can see, making it difficult to get an idea of the city’s structure. It’s probably this spatial disorientation that has given the painting its title, Terrain Vague, after the French term for an area of no clear identity. An area on the precipice between city and countryside. In other words a kind of limbo, neither one thing nor the other. Architecture scholar Ignasi de Solà-Morales wrote in an essay from 1995 that a city can never be understood in its complex entirety without the help of the camera. However, it is not the city we see, but the image of the city, and aided by this image we can form an understanding of the city’s topography. In a sense a terrain vague can also be perceived as a transitional phenomenon between a physical and a mental landscape, or as something in-between being awake or asleep. In other words, like the feeling often experienced when being in an aeroplane on its way from one place to another. It’s a state where you lose all sense of place, yet at the same time keep a kind of emotional perception, which perhaps could be defined as the soul of the place.

Text by Bo Nilsson.

375. Ola Billgren, ‘ Terrain Vague’.

372. Martin Wickström (Sweden, 1957–) ‘Wat Bo Sunset’. Signed Martin Wickström and dated 2008 on verso. With dedication on verso. Oil on panel 40 x 53 cm.

Provenance: Tuija Lindström Collection.

Bukowskis Auktioner, Contemporary Art & Design, 23 Oct 2018, cat no. 191. Private Collection, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

373. Lars Lerin (Sweden, 1954–) ‘Fra Kleppestad’.

Signed Lars Lerin and dated 2021. Watercolour on paper 102 x 152 cm.

Estimate: SEK 200 000 – 300 000 / EUR 17 850 – 26 770 (d)

374. Johan Nobell (Sweden, 1963–) ‘Deep time’. Signed JN and dated –17. Oil on canvas 35.5 x 49.5 cm.

Provenance: AnnaElle Gallery, Stockholm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

375. Ola Billgren (Sweden, 1940–2001) ‘Terrain Vague’.

Signed Ola Billgren and dated 1987 verso. Canvas 190 x 265 cm.

Provenance: Acquired at Art Cologne, Galleri Engström, Stockholm. Private Collection, Germany.

Bukowski Auktioner, Modern spring sales 2005, lot no. 543. Private Collection.

Bukowski Auktioner, Spring Contemporary 2012, lot no. 461. Private Collection.

Exhibitions: Rooseum, Malmö, ‘Ola Billgren – a retrospective’, 14 May – 4 August 1991.

Moderna Museet, Stockholm, ‘Ola Billgren – a retrospective’, 26 October – 8 December 1991.

Kunstforeningen, Köpenhamn, ‘Mörkrets lys, Nordisk kunst genom 100 år’, 1996.

Literature: Ola Billgren, ‘Album, Ola Billgren – en retrospektiv, Vol.1’, 1991, reproduced page 111.

Hans Johansson, ‘Svensk Nutidskonst 3–Ola Billgren’, 1993, reproduced fullpage plate 26. ‘Mörkrets lys, Nordisk kunst genom 100 år’ Kunstforeningen, Köpenhamn, 1996, reproduced in catalogue page 29.

Douglas Feuk and Anne Ring Petersen, ‘Ola Billgren -Måleri’, 2000, reproduced full-page colour page 52–53.

Estimate: SEK 2 000 000 – 2 500 000 / EUR 178 420 – 223 020 (d)

12% Import VAT will be charged on the hammer price on this lot.

376. Marcus Eek (Sweden, 1968–) ‘Comfort Zone 3’.

Signed Marcus Eek verso. Executed in 2017. Acrylic on plexi glass 50 x 40 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

377A. Ernst Billgren (Sweden, 1957–)

‘Interiör med fåglar, lila grön’.

Signed with monogram. Panel in artist’s frame 138.5 x 195.5 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Estimate: SEK 125 000 – 150 000 / EUR 11 300 – 13 600 (d)

377. Withdrawn

Lena Cronqvist

The intence silence is so saturated that it borders on the ghostlike, reminiscent of Lena Cronqvist’s work in the 1970s when she depicts the Saloon (Salongen) and those who visit the room in a series of paintings. The setting is taken from the bourgeois home and she tells of the boredom of old age, using subdued colors and a large portion of gray in her palette. She depicts the stuffy, suffocating room where the transience of life trembles, where time was and is gone, and the present stands still. The figures are worn out and tired, their lives slowly ebbing away, and family gatherings are interruptions that function as breathing spaces in a world where life is on hold. The objects, those that have meant something to the owners for generations, become symbols of life that continues regardless of who uses the blue and white porcelain plates, the large dark cabinet, and the delicate crystal glasses. Between 1974-76, Cronqvist painted her parents and their closest ones. In just a few years, the party of life inevitably slows down and transforms into a heavy emptiness that pulsates against us, quietly demanding attention and providing insight into the unavoidable. The collections at the Gothenburg Art Museum house includes the work Dinner with Strawberries, (Middag med jordgubbar) painted in 1974. In the painting, the party is in full swing with toasts and intimate nods. The same year, Dinner with Shrimp (Middag med räkor) ” was created (Sundsvalls Museum), where plates overflow with pink crustaceans and white wine glistens elegantly in glasses. But appearances are deceiving, of course, and boredom lurks in the background.

In the current painting Patiens from 1975, the voices have gone quiet. The couple sits alone, the table is empty and the high chairs, covered in burgundy velvet fabric, shut out the world and the life that goes on outside the window. “In these works where the subject is toned down, Cronqvist sharpens the contrast between emptiness and emotional disposition, between precise figuration and refined simplification, perhaps as an implied message to us viewers to identify with the situation using the objects as a starting point”. During this time, Cronqvist finds her inspiration in the everyday life of her elderly parents. She is exploring herself and tackles subjects that many shy away from. The depicted silence in her family portraits of the 1970s is undoubtedly among her toughest, but also the foremost carriers of her brilliant way of interpreting and exploring the significant events in life. Determinedly, she seeks to capture her parents’ daily life and their existence. She wants to know, to see the truth. The family photos from 1974–1980 are among Cronqvist’s strongest. Ingela Lind writes in the book “Lena Cronqvist - The Painter” 1994; ”One can see them as precursors to Lars Norén’s psychodramas”. Patiens is an artwork that touches so deeply into the soul that time seems to stand still.

381. Lena Cronqvist, ‘Patiens’.

378. Katrin Westman (Sweden, 1987–) Untitled. Signed Karin Westman and dated 2019 verso. Oil on panel 35 x 42.3 cm.

Provenance: Galleri Andersson/Sandström, Stockholm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

379. Magnus ‘NUG’ Gustafsson (Sweden, 1972–) ‘Untitled #5’. Signed NUG and dated 2016 verso. Canvas 155.5 x 175.5 cm.

Provenance: Steinsland Berliner, Stockholm.

Exhibitions: Steinsland Berliner, Stockholm, ‘NUG, Straight from the Brain’, 18 March – 12 June 2016.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

380. Ann Böttcher (Sweden, 1973–) ‘Building in Harmony with Nature (Der Umgang mit Mutter Grün)’.

Signed Ann Böttcher and dated 2008 verso. 3 pcs. Graphite on paper, display case on shelf, framed collage, 13,2 x 35,7 x 47 cm and 58,5 x 78 cm.

Provenance: Galerie Nordenhake, Stockholm.

Exhibitions: Museum de Fundatie, Zwolle, Netherlands, ‘Meer Licht/ More Light, Palaeis A/D Blijmarkt’, 2011.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

381. Lena Cronqvist (Sweden, 1938–) ‘Patiens’.

Signed Lena Cronqvist and dated 1975 verso.

Oil on canvas 122 x 160 cm.

Provenance: Acquired from the artist.

Exhibitions: Galleri Doktor Glas, Stockholm, 1977.

Galerie Belle, Västerås, ‘Lena Cronqvist’, 1980.

Museet Kulturhuset, Borås, ‘Museet Kulturhuset’, 1981, kat nr. 37.

Liljevalchs konsthall, Stockholm, ‘Lena Cronqvist – retrospektiv’, 1983.

Göteborgs konstmuseum, ‘Lena Cronqvist - retrospektiv’, 1994.

Literature: Carl-Johan Bolander, Västerås, ‘Lena Cronqvist’, 1979, illustrated full-page p. 85.

Galleri Lars Bohman, Stockholm, ‘Lena Cronqvist, Målningar, 1964-1994’, 1994, illustrated full-page p. 93.

Mårten Castenfors m fl, ‘Lena Cronqvist’, SAK 2003, ill. p. 63.

Estimate: SEK 400 000 – 500 000 / EUR 35 690 – 44 610 (d)

382. Jacob Dahlgren (Sweden, 1970–) ‘Zocord #15’.

Signed Jacob Dahlgren and dated 2003. Painted wood and plexi glass 153 x 25 x 7.7 cm.

Provenance: Galleri Mårtenson och Persson, Båstad.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

383. Ulrik Samuelson (Sweden, 1935–) Untitled.

Signed Ulrik Samuelson. Also signed and dated 1963 verso. Canvas 96 x 132 cm.

Provenance: Stockholms Auktionsverk, Stockholm, ‘Moderna & Nutida’, 17 November, 2021, cat. no 602.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

Executed 2004. Painted wood 165 x 145 x 11.5 cm.

Provenance: Galleri Charlotte Lund, Stockholm. Acquired in 2006.

Exhibitions: artfinder, Hamburg, Art Forum Berlin, 2005.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

Signed Johan Furåker and dated -14 verso. Oil on mdf 70 x 50 cm.

Provenance: Galleri Ping-Pong, Malmö.

Exhibitions: Galleri Ping-Pong, Malmö, ‘Johan Furåker, A Poet In Need

Of An Empire’, 22 February – 22 March 2014.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

Signed Roger Hansson and dated 2015 verso. Canvas 71.5 x 104 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

384. Jacob Dahlgren (Sweden, 1970–) ‘Fruktträd’.

385. Johan Furåker (Sweden, 1978–) ‘A Father of a Nation’.

386. Roger Hansson (Sweden, 1967–) ‘Flygarn och spov’.

387. Nina Roos (Finland, 1956–) Untitled.

Signed Nina Roos and dated 2006 verso. Oil on acrylic glass 115 x 100 cm.

Provenance: Stockholms Auktionsverk, Bo Siesjö Collection, 29 September 2010. Private Collection.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

388. Peter Frie (Sweden, 1947–) ‘Landskap’.

Signed P. Frie and dated -96 verso. Oil on panel in artist's frame 180 x 120 cm.

Provenance: Galleri Lars Bohman, Stockholm. Acquired in 1996.

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380 (d)

389. Love Lundell (Sweden, 1981–) Untitled.

Signed Love Lundell and dated MMXIII. Mixed media on panel 46.5 x 43.5 cm.

Provenance: Wetterling Gallery, Stockholm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

Karin Mamma Andersson

Karin Mamma Andersson’s subjects often depict space and spatial movement, not just as an idea but also within interior spaces. Interior and exterior landscapes merge, always in the same uniquely restrained colour palette.

In the painting Runda bordet , dated 2000, she experiments with an inner landscape, putting up and breaking down walls. The children around the table are seated in a wintery outdoor setting. A few children have broken off from the circle, walking away, carrying their burdens on their heads. The body language of the children is carefully and masterly drawn, whilst their facial expressions remain simplified and partly dissolved. With her thematic array of childhood, northern Swedish nature, everyday life and love, Karin Mamma Andersson succeeds in transforming the particular into something general, a stage for the rest of us to see ourselves upon. Her style has been praised both in Sweden and internationally, and she is considered one of the most important Swedish artists living today.

During the 1990s children, and their everyday settings, were a recurrent theme in Karin Mamma Andersson’s work. Several of her most significant paintings on this subject were executed in 2000, as is the case with Runda bordet , currently on offer at the Contemporary Art & Design auction, and its sister-paintings Roliga Timmen , Klassrum and Skoldans . These works showcase Karin Mamma Andersson’s strong connection to art history, her great interest in art books, and in particular her studies of the subjects painted by the artists she most admires. In the painting in the auction we discern Vera Nilsson’s tender portrayals of children at the same time as Ernst Josephson’s curving lines, and Dick Bengtsson’s sophisticated treatment of surfaces.

Runda bordet was first exhibited at Galleri Magnus Karlsson in the spring of 2000, before her major breakthrough in 2003 at the Venice Biennale. Since then she has had several critically acclaimed solo shows, including at Modena Museet in Stockholm (2007) and Louisiana Museum of Modern Art in Denmark (2021), whilst regularly exhibiting her work with her galleries in Stockholm, London, and New York.

390. Karin Mamma Andersson, ‘Runda bordet’.

390. Karin Mamma Andersson (Sweden, 1962–)

‘Runda bordet’.

Signed Karin Mamma Andersson and dated 2000 verso. Watercolour, oil and putty on panel 44 x 59,9 cm.

Provenance: Galleri Magnus Karlsson, Stockholm. Bukowski Auktioner, Moderna Höstauktionen 2007, lot no. 511. Private Collection, Stockholm.

Exhibitions: Galleri Magnus Karlsson, Stockholm, March – April 2000.

Estimate: SEK 1 000 000 – 1 200 000 / EUR 89 210 – 107 050 (d)

391. Björn Wessman (Sweden, 1949–) ‘Viland’.

Signed Björn Wessman and dated 1985 verso.

Canvas 125 x 170.5 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

392. Martin Wickström (Sweden, 1957–) ‘De sju haven VI’.

Signed and dated 2018 on verso. Oil on canvas 70 x 170 cm.

Provenance: Galerie Forsblom, Stockholm. Private Collection, Gothenburg.

Exhibitions: Galerie Forsblom, Stockholm, ‘Paradiso (Out of the Red)’, 19 January – 11 February 2018.

Literature: Greger Ulf Nilson (ed.), ‘10_20 Martin Wickström’, 2021, illustrated p. 352-353 and listed under ‘Paradiso (Out of the Red)’ in the list of works p. 380.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

393. LG Lundberg (Sweden, 1938–) ‘Eat your animal crackers’.

Signed LG Lundberg and dated 1970. Oil on canvas 109 x 80 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

395. Maria Miesenberger (Sweden, 1965–) ‘Shaky Skyscraper Brain’. Executed in 2001. Mixed media, electric motor, height 16 cm. Unique.

Provenance: Galleri Lars Bohman, Stockholm.

Exhibitions: Galleri Lars Bohman, Stockholm, ‘Maria Miesenberger’, 2001. Galleri Arnstedt & Kullgren, Östra Karup, 2003.

Literature: Lunds Konsthall/Galleri Lars Bohman, 2002, ‘Maria Miesenberger Uncut’, illustrated p. 19.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

394. Viktor Rosdahl (Sweden, 1980–) Utan titel.

Signed Viktor Rosdahl and dated 2017 verso. Mixed media on black plastic bags, 161 cm in diameter.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

396. Mattias Nordéus (Sweden, 1978–) Untitled.

Signed M. Nordéus and dated 2010. Diptych. Painted wood.

Woman height 45 cm. Man height 48 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

396A. Ola Billgren (Sweden, 1940–2001) ‘Kvällsbild’.

Signed Ola Billgren and dated -96 on verso. Canvas 52 x 58 cm.

Provenance: Galerie Leger, Malmö.

Estimate: SEK 120 000 – 140 000 / EUR 10 900 – 12 700

397. Kristina Jansson (Sweden, 1967–) ‘Afterburn Villain I:VI’.

Signed Kristina and dated 2005 verso. Canvas 111 x 111 cm.

Provenance: Galerie Aronowitsch, Stockholm.

Exhibitions: Galerie Aronowitsch, Stockholm, ‘Mensh und Sonne’, August – September 2005.

Estimate: SEK 50 000 – 70 000 / EUR 4 460 – 6 250 (d)

398. Lena Johansson (Sweden, 1975–) Untitled. Oil on T-shirt, executed 2018. Image 34 x 25 cm.

Provenance: Andréhn-Schiptjenko, Stockholm.

Exhibitions: Andréhn-Schiptjenko, Stockholm, Market Art Fair 2018

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

399. Maria Miesenberger (Sweden, 1965–) ‘Quintuplets (Quintus)’.

Executed in 2007. Gypsum, stocking, mixed media 15 x 43 x 22 cm. Glass box (26 x 57 x 37 cm) and plinth (height 100 cm) accompanies the lot.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Strandverket, Marstrand, ‘Maria Miesenberger, Prescence of Time’, 28 March – 9 June 2013.

Literature: Strandverket, ‘Maria Miesenberger, Prescence of Time’, 2013, illustrated p. 57 and full-page p. 62.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

400. 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.

Estimate: SEK 50 000 – 70 000 / EUR 4 460 – 6 250 (d)

401. Johan Furåker (Sweden, 1978–)

‘A Poet in Need of an Empire IV’.

Signed Johan Furåker and dated 2014. Wooden shelf, four paintings on panel 35 x 85 x 23 cm.

Provenance: Galleri Ping-Pong, Malmö. Nordic Contemporary Art Collection, Stockholm. Private Collection, Stockholm.

Exhibitions: Galleri Ping-Pong, Malmö, ‘Johan Furåker, A Poet In Need Of An Empire’, 22 February – 22 March 2014.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

402. Karin Mamma Andersson (Sweden, 1962–)

‘Bättre famntag än av mor väntar dig när du blir stor’.

Signed K Mamma Andersson and dated 1997 verso. Canvas 70 x 58.5 cm.

Provenance: Bukowski Auktioner, ‘Contemporary & Design’, 2011, auction 561, cat. no. 373. Private Collection.

Estimate: SEK 500 000 – 700 000 / EUR 44 610 – 62 450 (d)

403. Juri Markkula (Sweden, 1970–) ‘Snön’.

Signed Juri Markkula and dated 2007 verso. Wax, pigment oil on MDF 153 x 153 cm each.

Provenance: Knäpper + Baumgarten, Stockholm.

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380 (d)

404. Lars Lerin (Sweden, 1954–) Untitled.

Signed Lars Lerin and dated 19. Watercolour on paper 17 x 25.8 cm.

Estimate: SEK 70 000 – 80 000 / EUR 6 250 – 7 140 (d)

405. Georg Gudni (Iceland, 1961–2011) Untitled.

Signed Georg Gudni and dated 2005 verso. Oil on canvas 65 x 50 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Georg Gudni’, 1 April – 7 May 2006.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

406. Lars Lerin (Sweden, 1954–) Untitled.

Signed Lars Lerin and dated 2016. Watercolour on paper 57 x 76 cm.

Provenance: Lars Bohman Gallery, Stockholm

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380 (d)

407. Ulrika Wärmling (Sweden, 1970–) ‘Last night under the parasol’.

Signed Ulrika Minami Wärmling and dated 2007 verso. Oil on canvas 180 x 140 cm.

Provenance: Stellan Holm Gallery, New York

Exhibitions: Stellan Holm Gallery, New York, ‘Les Jardins Noirs’, 2007.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

Mike Bidlo

Mike Bidlo (b. 1953, USA) is known for his replications of masterworks and is described in a Moderna Museet pamphlet from 1986 as “a forger, cannibal, re-creator, copyist, ‘appropriationist’”.

Bidlo is an internationally established artist who has, during his long career, recreated several important 20th century art historical events and works. Bidlo began his career in 1982 when he was awarded a studio at MoMA PS1, where he staged Jack the Dripper at Peg’s Place. The installation was a re-enactment of the time Jackson Pollock used Peggy Guggenheim’s fireplace as a urinal. The following years he studied Jackson Pollock’s painting, which resulted in works included in the series Not Pollock.

In 1985 Bidlo commenced Not Klein, a performance series based on Yves Klein’s Anthropométries de l’époque bleue, performed in Paris at the Galerie Internationale d’Art Contemporain on the 9th of March 1960. The show Not Klein was performed on four occasions; 1985 in New York City, 1986 at Moderna Museet in Stockholm, 1988 in Tokyo, and 1989 in Seattle. Like Klein Bidlo also wore a tuxedo and white gloves, and was assisted by three nude models acting as paintbrushes. He directed them on a stage whilst an orchestra of twenty musicians performed Klein’s Symphonie monotone.

The piece in the auction was bought at the event at Moderna Museet on the 9th of October, 1986, and has been with the same owner ever since.

Other art events and works recreated by Bidlo include Andy Warhol’s Factory, where he played Warhol and thirty-nine of his friends took the roles of various personalities surrounding Warhol. He did a full size version of Picasso’s Guernica, and created a series of paintings entitled Picasso’s Women 1901-1971, which were exhibited in 1988 at Leo Castelli Gallery and which are now being sold for millions. Georgia O’Keeffe, Magritte, Léger, Brancusi and Duchamp are some of the many well-established artists that Bidlo has appropriated. In 2022 Bidlo had a major retrospective, Nostalgia for Scandal, at Galleria Mazzoli, Modena, exhibiting sixteen artworks created between 1984 and 2022. His work is included in several museum collections and has been exhibited across the world.

412. Mike Bidlo, ‘Not Yves Klein’s Anthropometries’.

408. Olli Lyytikäinen (Finland, 1949–1987) ‘Vild – Villig’.

Signed Olli Lyyt. Watercolour on paper 38 x 49 cm.

Provenance: Kaj Forsblom Collection.

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680 (d)

409. Andrea Zittel (USA, 1965–) ‘A-Z Sorting Trays’.

Signed and numbered 6/7. Ed by I.C. Editions New York 2001. Wood, lenght 50 cm, width 12.5 cm.

Provenance: Galleri Mårtenson & Persson, Stockholm.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

410. Somboon Hormtientong (Thailand, 1949–) Untitled.

Signed and dated 90. Acrylic on panel 30 x 40 cm.

Provenance: Art Center, Silom Complex, Bangkok. Acquired around 2007.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

Signed Jan Groth and dated 1978 verso. Woven by Benedikte & Jan Groth. Wool tapestry 150 x 211 cm.

Estimate: SEK 100 000 – 125 000 / EUR 8 920 – 11 150 (d)

413.

Signed ‘Yvaral'; signed again twice, dated 1986, titled and inscribed ‘YVARAL/ ‘MONA LISA SYNTHÉTISÉE"/ 1986/ Yvaral/ No. ML295’ verso. Mixed media on panel 90 x 66 cm.

Provenance: Circle Fine Art Corporation, USA.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

Executed October 9th, 1986. Acrylic on paper 103 x 72.5 cm.

Provenance: Moderna Museet, Stockholm. Acquired in 1986.

Exhibitions: Moderna Museet, Stockholm, ‘Not Yves Klein’, 9 October 1986.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140

411. Jan Groth (Norway, 1938–2022) ‘Tegn/Sign’.

412. Mike Bidlo (USA, 1953–) ‘Not Yves Klein's Anthropometries’.

Jean-Pierre Vasarely (Yvaral) (France, 1934–2002) ‘Mona Lisa Synthétisée’.

414. Yae Asano (Japan, 1914–1996) ‘No 83’. Executed in 1970. Oil on canvas 72 x 90.6 cm.

Provenance: Japanska Galleriet, Stockholm. Acquired from the above by the present owner.

Exhibitions: Japanska Galleriet, Stockholm, ‘Yae Asano’, 5–19 September 1987.

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380

415. Miquel Mont (Spain, 1963–) ‘Sans Titre’. Signed Miguel Mont and dated Pantin (Paris) 2001. Acrylic and lacquer on panel 60.6 x 50 x 4.4 cm.

Estimate: SEK 6 000 – 8 000 / EUR 540 – 720 (d)

416. Genti Korini (Albania, 1979–) ‘Shapes from my screen’. Signed Korini verso and dated 2015. Canvas 121 x 90 cm.

Provenance: Martin Asbaek Gallery, Copenhagen.

Exhibitions: Martin Asbaek Gallery, Copenhagen, ‘Inside my walls

I see yours’, 2016.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

417. Erró (Gudmundur Gudmundsson) (Iceland, 1932–) Untitled.

Signed Erró and dated 1993 verso. Oil on canvas 46 x 33 cm.

Provenance: A gift from the artist to the former director at Konsthallen i Lund, Marianne Nanne Bråhammar.

Thence as a gift to the present owner.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

419. Bernd Koberling (Germany, 1938–) Untitled.

Signed Koberling verso and dated 2002. Panel 50 x 70 cm.

Provenance: Galleri Stefan Andersson, Umeå.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

418. Howard Kanovitz (USA, 1929–) ‘Electric Clock’.

Signed Kanovitz. Also signed and dated 1974 verso. Liquitex polymer acrylic on canvas 66 x 46 cm.

Provenance: Stockholms Auktionsverk, ‘Nutida’, 15 May 2014, cat. no. 457.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

Julian Opie

The British artist Julian Opie had his breakthrough in the 1980s as part of the movement New British Sculpture . This was a group of artists who, at the time, experimented with the medium of sculpture as a form of expression. Their themes included pop, humour, assemblage and the criticism of a consumer society. Other well-known figures who emerged from this group include Antony Gormley and Anish Kapoor.

Since the 1980s Opie has refined his artistic language. Inspired by Pop art, minimalism, classical portraiture and Japanese woodcuts Opie has primarily worked with portraits. Despite his minimalistic style he brilliantly succeeds in capturing the individual’s character traits. His popular breakthrough using this technique came in 2000 when he created the cover for the album Blur: The Best Of by the Britpop band Blur.

In several projects shown at, amongst others, Lisson Gallery in London and Wetterling Gallery in Stockholm, the artist has worked consistently with a group of about thirty friends that he has then portrayed in sculptures, paintings, films and wallpapers.

The portrait in the auction was a special commission by a Swedish musician and pop singer in connection with an exhibition at Wetterling Gallery. When the painting arrived in Stockholm, the Swedish client informed him that he was very happy with his portrait and that he saw certain similarities with Hergé’s comic character Tintin. Opie then replied that that was because the musician really looked just like Tintin.

Six of Opie’s portraits are in the National Portrait Gallery in London; including the four portraits depicting the members of Blur.

Opie’s work can also be found in other public art collections such as Tate Modern and the Victoria & Albert Museum in London, Museum of Modern Art (MoMa) in New York as well as the Institute of Contemporary Art in Boston.

420. Julian Opie, ‘Christer, popstar’.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

Signed Julian Opie verso. Executed in 2002. Vinyl on canvas 88 x 70.5 cm.

Literature: Daniel Kurjakovic, ‘Julian Opie: Portraits’, 2003, illustrated full-page.

Estimate: SEK 275 000 – 300 000 / EUR 24 540 – 26 770 (d)

Estimate: SEK 150 000 – 200 000 / EUR 13 380 – 17 850 (d)

420. Julian Opie (Great Britain, 1958–) ‘Christer, popstar’.

421. Mr Brainwash (Thierry Guetta) (France, 1966–) ‘Art for Dummies’. Signed Mr Brainwash and dated 2020 verso. Mixed media and collage on paper 91 x 91 cm.

422. Peter Linde Busk (Denmark, 1973–) ‘Sisyphus’. Signed PLB. Executed 2018. Bronze, height 15 cm. Edition 9/25.

423. Wolfgang Ludwig (Salomé) Cihlarz (Germany, 1954–)

‘Vier Nackte Mädchen’.

Signed Salomé and dated ‘83 verso. Canvas 160 x 190 cm.

Estimate: SEK 150 000 – 200 000 / EUR 13 380 – 17 850 (d)

424. 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.

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680 (d)

425. Malcolm Morley (Great Britain, 1931–2018) Untitled.

Signed Malcolm Morley. Watercolour on paper 30 x 45.5 cm.

Provenance: Christie's, New York NY, United States, ‘CONTEMPORARY ART’, 14 Feb 1991, lot 26.

Private Collection, Sweden.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

Stephan Balkenhol

In 1987, Stephan Balkenhol was first recognized for his wooden sculptures. Ten years later, the auction’s sculpture Mann mit Hand im Hemd was shown in the gallery Lars Bohman in Stockholm. With a soft roughness, Balkenhol chisels out men and women from large singular pieces of wood; reliefs, sculptures, full figures and portraits. There are obvious parallels to ancient marble sculptures, with the most obvious difference being that Balkenhol’s figures are dressed. For us Swedes, of course, there is the connection to the figures of the Döderhultarn by Axel Petersson. They have the material and everyday motif circuit in common, but Balkenhol works in a tighter and more strippeddown style. His wooden sculptures are rough and painted in bright colours. Balkenhol’s sculptures are also much larger, in some cases monumental. With traditional tools like hammers and chisels, seemingly ordinary men and women grow out of large singular wooden blocks, figures he himself refers to as ‘Everyman’. They wear everyday clothes and give no clues about social status, occupation or personality. Facial expression is always serious and neutral. This particular de-identification paradoxically enables an identification: they are none at all, and at the same time each of us.

Balkenhol’s sculptures have been showcased in many institutions and public settings, attracting attention in cities such as Rome, London, Paris, Berlin and New York. He is represented at nearly 100 international institutions, including: Neue Pinakothek in Munich, the Peggy Guggenheim Collection in Venice, the National Museum of Art in Osaka, the Art Institute of Chicago and the Hamburger Bahnhof in Berlin.. A solo exhibition of recent sculptures by Balkenhol opened at Stephen Friedman Gallery in January 2023. Other notable solo presentations include: ‘Stephan Balkenhol’, Lehmbruck Museum, Duisburg, Germany (2020–2021); ‘Stephan Balkenhol’, Museum Jorn, Silkeborg, Denmark (2020); ‘Le Prévu et l’Imprévu’, Palais d’Iéna, Paris, France (2020). Balkenhol is known to a Swedish audience through its two figures on stilts, six meters high, which since 2004 stand outside Chalmers University of Technology in Gothenburg.

426. Stephan Balkenhol , ‘Mann mit Hand im Hemd’.

426. Stephan Balkenhol (Germany, 1957–) ‘Mann mit Hand im Hemd’. Executed 1997. Carved wood painted with pigments and acrylic emulsion 215 x 70 x 49 cm. Man height 118 cm. Painted wooden base 96 cm high.

Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, ‘Stephan Balkenhol’, 1997.

Estimate:

427. Karin Davie (Canada, 1965–) ‘Between My Eye and Heart No 23’. Signed Davie and dated 2006 verso. Canvas 153 x 122 cm.

Provenance: Wetterling Gallery, Stockholm.

Exhibitions: Wetterling Gallery, Stockholm, ‘The Body's Mind’, 14 October – 25 November 2006.

Estimate: SEK 150 000 – 200 000 / EUR 13 380 – 17 850

428. John Henderson (USA, 1984–) Untitled. Mixed media (dye sublimation) on polyester canvas 194 x 132 cm.

Estimate:

Provenance:

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340

Estimate: SEK 70 000 – 90 000 / EUR 6 250 – 8 030 (d)

Provenance:

Exhibitions: Pilane, Tjörn, 2017.

Estimate: SEK 175 000 – 200 000 / EUR

429. Sarah Cromarty (USA, 1980–2018) ‘Lazy Baby’. Signed and dated 06 verso. Mixed media (oil, glitter, cardboard) on album cover mounted to panel 31 x 31.5 cm.

Sixspace, Culver City, CA.

430. Bram Bogart (Netherlands, 1921–2012) ‘no 15’. Signed Bogart and dated ‘90. Mixed media on paper 46.5 x 64 cm.

Provenance: Private Collection, Stockholm.

431. Xavier Veilhan (France, 1963–) ‘Michael’. Aluminum and steel 190 x 75 x 39 cm.

Andréhn-Schiptjenko, Stockholm.

Thierry Guetta, also known as Mr Brainwash, is a French street artist who arrived in Los Angeles as a teenager. Before becoming an artist he owned a vintage store in the city, but his great passion was film. Wherever he went he brought his video camera along, attempting to capture everything in his environment. On a trip to Paris in 1999 he came to realise that the acclaimed street artist Space Invader, whose real identity had been kept a secret, was actually his own cousin. He began following Space Invader around with his camera and became fascinated by street art as an art form.

On his return to Los Angeles he gravitated towards the American street art scene and ended up meeting the famous Shepard Fairey. For close to a year Guetta observed him as part of a film project, whilst also documenting other street artists. Shortly after the meeting with Fairey, Guetta finally met the anonymous and world-renowned Banksy, who also allowed Guetta to film him. Guetta put together all the material he had on the street artists and made it into a film, which was mostly a collection of fragmented clips that Banksy called “unwatchable”. However, Banksy felt that the raw material was good enough and chose to try and do something of his own with it.

Whilst Banksy took over the film material he suggested that Guetta should instead try and create his own art. Guetta took his advice and began painting under the name Mr Brainwash. His first exhibition in 2008 was called Life is Beautiful, but his breakthrough did not come until 2010 when Banksy released the documentary Exit Through the Gift Shop, which tells the story of Thierry Guetta.

Mr Brainwash’s style has been described as a combination between street and pop art. He gets his inspiration from pop artists including Andy Warhol and Keith Haring. He often combines older icons from popular culture, such as Marilyn Monroe, with more recent figures like Kate Moss, in the same work. He is also known for appropriating other artists’ works, like for example Jeff Koon’s balloons or Banksy’s Throwing Man, which can be spotted in Banksy’s iconic piece Love is in the Air. In his version Guetta has equipped the masked man with a copy of the book Art

for Dummies.

421. Mr Brainwash (Thierry Guetta), ‘Art for Dummies’.

435. Mr Brainwash (Thierry Guetta), ‘Follow your dreams’.

Mr Brainwash (Thierry Guetta),

432. Klara Lidén (Sweden, 1979–) ‘Untitled (Trashcan)’. Executed in 2011. Unique. Found NYC trashcan. Height 74 cm, diameter 54,5 cm. A signed certificate of authenticity, issued by Reena Spaulings Fine Art, accompanies the lot.

Provenance: Reena Spaulings Fine Art, New York.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

433. Paul Hously (Great Britain, 1964–) ‘Studio Painter’. Signed P.H and signed verso. Canvas 15 x 10.5 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

434. Morteza Darehbaghi (Iran, 1969–) Untitled. Signed Darebaghi and dated 2004. Canvas 100 x 80 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

Signed Mr Brainwash and dated 2018 verso.

media and collage on paper 76 x 56.5 cm.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

Provenance: Andréhn-Schiptjenko, Stockholm.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070 (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

435. Mr Brainwash (Thierry Guetta) (France, 1966–)

‘Follow your dreams’.

Mixed

436. Julie Roberts (Great Britain, 1963–) ‘Jude’. Signed Julie Roberts and dated 2011. Watercolour on paper in artist’s frame 47.5 x 40.5 cm.

437. Michael Pybus (Great Britain, 1982–) ‘Glitch Painting’. Signed M Pybus and dated 2016 verso. Acrylic, UV blacklight glow paint, aluminium particle paint and permanent pigmented ink on canvas 100 x 100 cm.

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 using city and landscape elements made them worldfamous. They mastered the whole creative process from idea and documentation to realisation. With their temporary transformations Christo and Jeanne-Claude wanted to redefine objects, buildings and landscapes as art, whilst also expressing a change in the purpose and space for art.

In order to get the permit necessary to carry out their white wrapping of Pont Neuf in Paris, Christo and Jeanne-Claude visited the shops adjacent to either end of the bridge and convinced the shop owners that the project would be beneficial to their businesses. At the same time Christo encouraged the shop owners to write in support of the project to the then mayor of Paris, Jacques Chirac. When Pont Neuf was finally wrapped in 1985 – after a long period of negotiations and planning (which included a ‘trial wrap’ of another bridge so as to test that it could be done in practice) – they transformed the cityscape abruptly, replacing the historical bridge with a completely alien form. Christo and Jeanne-Claude’s artistic work is not primarily conditioned by the desire to create art objects, but is motivated by the need to engage artistically with a place and create a dialogue with its history.

The temporal installations that their works consist of are the result of years of preparations, in which the methodology and the creative process are captured in sketches, photographs and collages that have become artworks in themselves. They all have their own value and document the artistic development of the projects. The work in the auction The Pont Neuf Wrapped (Project for Pont Neuf – Paris) from 1976 is just such an original piece.

The impermanent work was funded entirely by the artists. By wrapping Pont Neuf the tradition of gradual metamorphoses continued through a new sculptural dimension, transforming it into an artwork for fourteen days. Ropes secured the fabric against the metal bridge, retaining its general shape whilst emphasising proportions and details of the Pont Neuf, which for more than 400 years has united the left bank and the right bank through Île de la Cité, the heart of Paris.

441A. Christo & Jeanne-Claude, ‘The Pont Neuf Wrapped (Project for Pont Neuf – Paris)’.

Signed and marked 81-63. Partially polished red granite. Height 26 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 340 (d)

Executed 1996. Canvas 148 x 126 cm.

Provenance: Jinta Art, Melbourne.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

Signed Jackiewicz and dated -85. Canvas 101 x 121 cm.

Provenance: Sopocka Galeria Sztuki, Sopot, acquired 1990 by the present owner.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

Signed Jackiewicz and dated -86. Canvas 101 x 121 cm.

XXIV/86’.

Provenance: Sopocka Galeria Sztuki, Sopot, acquired 1990 by the present owner.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

441. Wladyslaw Jackiewicz (Poland, 1924–2016) ‘Obraz

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

439. Ronnie Tjampitjinpa (Australia, 1943–) ‘Tingarri’.

440. Wladyslaw Jackiewicz (Poland, 1924–2016) ‘Obraz XXV/85’.

441A. Christo & Jeanne-Claude (USA, 1935–2020)

‘The Pont Neuf Wrapped (Project for Pont Neuf – Paris)’. Signed Christo and dated 1976. Collage, pencil, fabric, twine, photograph by Wolfgang Volz, wax crayon, pastel, charcoal, and map 55 x 70 cm.

Provenance: Acquired via Carl Flach in the early 1980’s.

442. Mike Walsh (USA, 1948–) ‘The Last Disaster 8’.

Signed Michael Walsh and dated 90 verso. Screenprint on canvas 217 x 184 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230

443. Erró (Gudmundur Gudmundsson) (Iceland, 1932–) Untitled.

Signed Erró and dated 1980 verso. Canvas 97 x 75 cm.

Provenance: A gift from the artist to the former director at Konsthallen i Lund, Marianne Nanne Bråhammar.

Thence as a gift to the present owner.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920 (d)

444. Klara Lidén (Sweden, 1979–) ‘Untitled (Poster Painting)’. Executed in 2013. Mixed media ca 88 x 65 x 14 cm. A signed certificate of authenticity, issued by Galerie Neu, accompanies the lot.

Provenance: Galerie Neu, Berlin. Private Collection, Stockholm, Sweden.

Estimate: SEK 500 000 – 700 000 / EUR 44 610 – 62 450 (d)

445. Louise Bourgeois (USA, 1911–2010) ‘Fallen woman’. Signed LB and dated 1996. Numbered 23/25, Sevres, France. Porcelain and gold (gratte-bosse). Length 29 cm.

Provenance: Art Partners!, Finland.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460

446. Mimmo Paladino (Italy, 1948–) Untitled. Signed M. Paladino and dated 1990. Mixed media and collage 39.5 x 28 cm.

Provenance: Galleria Civica di Arte Contemporanea Trento, Italy.

Estimate: SEK 20 000 – 30 000 / EUR 1 790 – 2 680 (d)

447. Wolfgang Ganter (Germany, 1978–) ‘Untitled (Two Trees)’. Signed W. Ganter and dated 2010 verso. Epoxy on piezo pigment on wood 100 x 153 cm.

Provenance: Galleri Gunnar Olsson, Stockholm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

449. Tomás Saraceno (Argentina, 1973–) ‘Iridescent Planet’. Executed in 2007. Radiant foil, latex balloon, pump with pressure regulator, approximate diameter 115 cm. Edition of 3 +1 AP.

Provenance: Andersen's Contemporary, Copenhagen. Christian Larsen, Stockholm. Private Collection, Stockholm.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140

448. James Havard (USA, 1937–2020) ‘Back Fat For Cane Garden Bay BVI’. Signed Havard and dated 78 verso. Acrylic on canvas 178 x 150 cm.

Provenance: Louis K Meisel Gallery, New York.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

450. Stephan Balkenhol (Germany, 1957–) ‘Wasa’.

Relief, painted wawa wood 201 x 156 cm.

Provenance: Galleri Lars Bohman, Stockholm. Private Collection, acquired from the above in 2003. Private Collection, acquired from the above in 2015

Exhibitions: Galleri Lars Bohman, Stockholm, ‘Stephan Balkenhol’, 15 November – 21 December 2003.

Estimate: SEK 150 000 – 200 000 / EUR 13 380 – 17 850 (d)

451. Joseph Kosuth (USA, 1945–).

Silkscreen on glass in iron frame 30 x 92 cm.

Provenance: The Estate of Ronald Jones.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570

452. Joseph Kosuth (USA, 1945–) Untitled.

Silkscreen on glass with in iron frame 30 x 92 cm.

Provenance: The Estate of Ronald Jones.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570

453. Robert Combas (France, 1957–) ‘Horse’.

Signed and dated 1984. Acrylic on linen laid on panel 66.5 x 84.5 cm.

Provenance: Galleri Origrafica, Malmö. Acquired from the above in 1989. Private Collection, Sweden

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380 (d)

454. Gardar Eide Einarsson (Norway, 1976–) ‘Untitled (Stance)’.

Executed in 2008. Diptych, inkjet print on plywood 200 x 120 cm each.

Provenance: Nils Staerk Contemporary Art, Copenhagen. NOCO Art Collection, Sweden.

Private Collection, Stockholm.

Exhibitions: Vestfossen Kunstlaboratorium, Norway, 15 March – 15 October 2017.

Literature: Göran Christensen, ‘NOCO – Nordic Contemporary Art Collection’, illustrated p. 47.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

455. Ståle Vold (Norway, 1951–) ‘Untitled 18’.

Signed Ståle Vold and dated 2012 verso. Canvas 135 x 120 cm.

Provenance: Johan Berggren Gallery, Malmö.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680 (d)

456. Friedrich Lissmann (Germany) ‘Lauf Nr. 5’.

Signed FL and dated 16 verso. Oil on canvas 41 x 34 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

457. Friedrich Lissmann (Germany) ‘Lauf Nr. 1’.

Signed FL and dated 16 verso. Oil on canvas 37 x 28.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

nights are new’.

Lithographs in colour, each signed, numbered 145/150. Published and printed by Sibirien Lito, Stockholm. Each 30 x 87.5 cm. Including frame 81.5 x 102 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

2004, stamped BANKSY in red, numbered 554/600 in pencil. Published by Pictures on The Wall, London (with their blindstamp). S. 49 x 70 cm. This lot is accompanied by a certificate of authenticity issued by Pest Control Office.

Estimate: SEK 500 000 – 600 000 / EUR 45 400 – 54 400 (d)

458. Karin Mamma Andersson (Sweden, 1962–) ‘Only the

Diptych.

459. Donald Baechler (USA, 1956–2022) ‘Yellow Rose’. Silkscreen in colours, 2015. Signed and numbered 32/35 in pencil.

460. Banksy (Great Britain) ‘Barcode’. Screenprint,

461. Banksy (Great Britain) ‘CND’.

Screenprint in colours, 2005, numbered 224/350, published by Pictures on Walls, London. S. 70 x 50 cm. This lot is accompanied by a certificate of authenticity issued by Pest Control Office.

Estimate: SEK 300 000 – 400 000 / EUR 26 770 – 35 690 (d)

462. Sam Francis (USA, 1923–1994) ‘Of Vega’. Screenprint in colours, 1972, signed and annotated CTP II (of 5 colour trial proofs’ aside from the edition of 80). Published by Gemini G.E.L., Los Angeles (with their blindstamp). S. 98 x 67 cm.

Literature: Lembark S.6.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570

463. Günther Förg (Germany, 1952–) ‘Formen’.

A series of five lithographs in colour, 1987, each signed, dated and numbered 20/25. Printed by Karl Imhof, Münich. Published by Galerie Borgmann, Capitain, Cologne. S. 70 x 60 cm (BFK Rives ).

Provenance: Anders Tornberg Gallery, Lund, Sweden.

Estimate: SEK 40 000 – 50 000 / EUR 3 570 – 4 460 (d)

464. Keith Haring (USA, 1958–1990) ‘Pop Shop I: one plate’. Silkscreen in colour, 1987. Signed, numbered 161/200 and dated in pencil. Published by Martin Lawrence Limited Editions, New York 26.5 x 34 cm, S: 30,5 x 38 cm.

Literature: Littman, p. 82.

Estimate: SEK 150 000 – 175 000 / EUR 13 380 – 15 620

465. Keith Haring (USA, 1958–1990)

‘Free South Africa: one plate’.

Lithograph in colours, 1985, on BFK Rives paper, signed in pencil and numbered 45/60, published by Edition Schellmann, Munich/New York. L./S. 100 x 81 cm.

Literature: Littmann, p. 42-43.

Estimate: SEK 175 000 – 200 000 / EUR 15 620 – 17 850

466. Keith Haring (USA, 1958–1990)

‘Free South Africa: one plate’.

L ithograph in colours, 1985, on BFK Rives paper, signed in pencil and numbered 39/60, published by Edition Schellmann, Munich/New York. L./S. 80,5 x 100 cm.

Literature: Littmann p. 42-43.

Estimate: SEK 175 000 – 200 000 / EUR 15 620 – 17 850

467. Keith Haring (USA, 1958–1990) ‘The Fertility Suite: one plate’.

Screenprint in colours on wove paper, signed and dated K. Haring 83 in pencil, numbered 22/100. Published by Tony Shafrazi Gallery, New York. I. 102.8 x 120.6 cm, S. 106.6 x 127 cm.

Exhibitions: Galleri Mocca, Gothenburg, Sweden.

Literature: Littmann p. 32.

Estimate:

468. Damien Hirst (Great Britain, 1965–) ‘Forever (Small)’. Laminated Giclée print on aluminium composite panel, digitally signed on label verso, 2020. Numbered 2425/2573. Published by HENI Editions. 39 x 39 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

469. Damien Hirst (Great Britain, 1965–) ‘Politeness’ from ‘The Virtues’.

Laminated Giclée print on aluminium composite panel, 2021. Signed on label verso, numbered 1421/1549. Published by HENI Editions. 120 x 96 cm.

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380 (d)

470. Damien Hirst (Great Britain, 1965–) ‘Currency 8548 Give Me Something’.

Enamel paint on handmade paper, 2016, signed, dated and titled on verso in pencil. Also the artist's blindstamp, watermark, microdot and hologram on reverse. 21.1 x 29.7 cm. The work has been used with Damien Hirst’s approval for the band Crying Day Care Choir’s record Give Me Something Vol.1. The collaboration will be mentioned in ‘Damien Hirst The Currency Chronicles Vol. 2’. This work is number 8548 from a series of 10,000 unique examples. The corresponding non-fungible token has been burned.The book ‘Damien Hirst The Currency Chronicles Vol. 1’ is included with the work.

Provenance: HENI London.

Estimate: SEK 100 000 – 125 000 / EUR 8 920 – 11 150 (d)

471. David Hockney (Great Britain, 1937–) ‘Postcard of Richard Wagner with a Glass of Water’. Etching, 1973. Signed and dated in pencil, numbered 28/100. Printed by Michael Rand, published by Bernard Jacobson, London. 16.5 x 12.5 cm.

Literature: SCA 154.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360 (d)

472. David Hockney (Great Britain, 1937–) ‘Flowers, apple and pear on table’. Photocopy, homemade print in four parts made on an office colour copy machine, 1986, signed and numbered 25/79 in pencil. With the artist blindstamp on one sheet. Total size 55 x 42 cm.

Literature: MCA Tokyo 296.

Estimate: SEK 50 000 – 60 000 / EUR 4 460 – 5 360 (d)

Robert Indiana

It has always been a matter of impact, the relationship of color to color and word to shape and word to complete the piece - both the literal and visual aspects. I’m most concerned with the force of its impact.

Robert Indiana

The artwork ‘LOVE’ has become synonymous with Robert Indiana’s artistic work and has taken a prominent place in art history with its timeless message of love. The iconic composition of the letters L.O.V.E. was born from a request for postcards for the Museum of Modern Art, New York in 1965. With LOVE, Indiana managed to capture the vital cultural movements of the time, which reached a climax in the ‘Summer of Love’ in 1967.

The four letters form both a geometrically advanced composition and a linguistic certainty, and today it is one of the most well-known interpretations of the universal and elusive feeling of love. Indiana has used the work in several techniques, the first sculpture was made 1970 for Indianapolis Museum of Art and versions are today placed all over the world, not least in New York. Except sculptures, Indiana have made paintings, carpets, and as here in the auction, screenprints in bold colours. The expression and message are equally striking and poignant more than 50 years after its creation.

477. Robert Indiana, ‘Heliotherapy Love’.

Andy Warhol

In the beginning of the 1970s, Andy Warhol began to focus on what became his staple of this era: portraits of the rich, famous and beautiful. He also began to accept commissions, as in this portrait of Kimiko Powers dressed in an elegant kimono with her hair arranged in a Japanese style.

Kimiko had together with her hasband John amassed one of the most impressive private collections of Pop Art. The commission resulted in 25 canvases in different colours based on a polaroid photo in different colours. The image was 1981 made into this screenprint in vibrant colours in an edition of 250, published to raise funds for a visual arts program sponsoring artists and exhibitions at Colorado State University.

513. Andy Warhol, ‘Kimiko’.

473. Howard Hodgkin (Great Britain, 1932–2017) ‘Here We Are in Croydon’.

Lithograph and hand colouring, 1979. SIgned, dated and numbered 95/100. Printed and hand coloured at the Petersburg Studios, New York. Published by Petersburg Press. 60 x 76.5 cm.

Literature: Heenk 49.

Estimate: SEK 20 000 – 25 000 / EUR 1 790 – 2 230 (d)

474. Jenny Holzer (USA, 1950–) ‘No One Told Me’. Pigment print, 2006, signed and numbered 6/10. 151 x 121 cm.

Provenance: Galerie Yvon Lambert, Paris.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

475. 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.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140 (d)

476. Jan Håfström (Sweden, 1937–) ‘Långsamt Farväl’.

Screenprint in colours, 2009, signed and dated, numbered 21/25.

Published by Editions Grafikens Hus, Mariefred. 113 x 76.5 cm.

One of the few preserved prints from this edition due to the unfortunate fire at Grafikens Hus 2014.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570 (d)

Screenprint in colors, 1995, signed, dated and numbered 284/300 in pencil.

Printed by Brand X Editions, New York, published by Donald J. Christal, Los Angeles. S. 101.5 x 102 cm.

Estimate: SEK 200 000 – 250 000 / EUR 17 850 – 22 310

478. Jasper Johns (USA, 1930–) ‘Figure 9’, from ‘Color Numeral Series’.

Lithograph in colours, 1969, signed and dated in red pen, numbered 2/40.

Published by Gemini G.E.L., Los Angeles. S. 95.5 x 78.5 cm.

Literature: Gemini 125.

Estimate: SEK 125 000 – 150 000 / EUR 11 150 – 13 380

477. Robert Indiana (USA, 1928–2018) ‘Heliotherapy Love’.

Kaws

Kaws – Brian Donnelly (b. 1974) – is one of the most influential artists working today. His characteristic aesthetic has been central to the development of pop art’s transgressive merging of art, fashion, music and brands. Kaws studied at the School of Visual Arts in New York and started working as a background illustrator for animated series. However, he began his artistic career when he was very young by painting graffiti, making a name for himself on the New York street art scene with his ‘tag’ KAWS, which, according to him, was chosen because the letters looked good next to each other. He soon developed his graffiti into a unique style, making room for his figures, which look as if they are plucked from comic books, that have now become so iconic. He gained a growing number of followers, thanks significantly to the international spread of his art through digital channels.

By the turn of the millennium Kaws had begun to move away from graffiti, creating his characters COMPANION and CHUM , who, with their recognisable x-ed out eyes, became sort of anti-heroes. The very limited editions, made as vinyl toys complete with boxes, were particular instant successes. The creative melting pot that was Tokyo around the turn of the millennium came to be significant to his subsequent collaborations, not least his friendship with Nigo, the founder of A Bathing Ape. Medicom, that went on to create the figures Be@rbricks, also became an important and long-lasting partner.

‘Toys’ have always had a central place in Kaws’ art, giving him a unique position whilst challenging the traditional art establishment. As he expressed it himself, “The toys are actually part of the work. It’s what I want to do. No matter how things go in the gallery world, I’m still going to want to make them”.

Today Kaws’ work is represented at important museums across the globe, and is highly sought-after by collectors as well as by some of the most influential people of our time to have in their homes.

At this spring’s Contemporary sale Bukowskis has the pleasure to present a comprehensive collection of works by Kaws, formed thanks to the passionate and long interest of a Swedish private individual. In the collection we encounter several of the most sought-after characters that populate Kaws’ world; Companion, Chum, Bendy and different versions of Be@rbrick. Several are from early limited editions, and they all come with their original packaging preserved.

The collection demonstrates how Kaws has succeeded in creating his own universe, blurring the lines between various cultural and geographical areas.

479. KAWS (USA, 1974–) 400% BE@RBRICK Chompers.

Painted cast vinyl, 2003. Edition of 500. Published by Medicom Toy, Japan (marked on underside). Height 27.3 cm. Original box included.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

480. KAWS (USA, 1974–) 400% BE@RBRICK (Grey).

Painted cast vinyl, 2002. Edition of 500. Published by Medicom Toy, Japan (marked on underside). Height 27.3 cm. Original box included.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

481. KAWS (USA, 1974–) Bendy Vinyl (Grey).

Painted cast vinyl, 2004. Edition of 500. Published by Medicom Toy, Japan (marked on underside). Height 35 cm. Original box included.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

482. KAWS (USA, 1974–) Blitz (Clear).

Painted cast vinyl, 2004. Edition of 500. Published by Medicom Toy, Japan (marked on underside). Height 15 cm. Original box included.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900

483. KAWS (USA, 1974–) Companion (Five Years Later) (Grey).

Painted cast vinyl, 2004. Published by Medicom Toy, Japan. Edition of 500. Height 37.5 cm. Comes with original box.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

484. KAWS (USA, 1974–) Accomplice Black.

Painted cast vinyl, 2002. Edition 276/500 (numbered on box). Published by Medicom Toy, Japan, stamped under. Height 23.5 cm. Original box included.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

485. KAWS (USA, 1974–) ‘Accomplice pink’.

Painted cast vinyl, 2002. Edition 916/1000 (numbered on box). Published by Medicom Toy, Japan, stamped under. Height 23.5 cm. Original box included.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

486. KAWS (USA, 1974–) Companion (Five Years Later) (Blue Glow in the dark).

Painted cast vinyl, 2004. Published by Medicom Toy, Japan, stamped on underside. Edition of 500. Height 37.5 cm. Original box included.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

487. KAWS x REAS (Todd James) (USA) The Twins (Glitter Variant). Painted cast vinyl, two figures, 2006. Published by Medicom Toy, Japan, stamped underside. Height 20.3 cm. Original box included.

Estimate: SEK 30 000 – 40 000 / EUR 2 680 – 3 570

488. KAWS (USA, 1974–) 400% BE@RBRICK Wood BWWT. Karimoku Wood, 2005. Edition of 150. Published by Medicom Toy, Japan, incised mark on the reverse. Height 26.5 cm. Original box included.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140

489. KAWS (USA, 1974–) Chum (Black).

Painted cast vinyl, 2002. Signed KAWS 03 on the underside.

Edition of 500. Published by 360 Toy Group, New York. Height 33 cm. Comes with original packaging.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

490. KAWS (USA, 1974–) Companion (Five Years Later) (Brown).

Painted cast vinyl, 2004. Published by Medicom Toy, Japan.

Edition of 500. Height 37.5 cm. Original box included.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

491. KAWS (USA, 1974–) Companion (Five Years Later) (Black).

Painted cast vinyl, 2004. Published by Medicom Toy, Japan.

Edition of 500. Height 37.5 cm. Original box included.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

492. KAWS (USA, 1974–) ‘Untitled (KAWS x Mocad)’. Screenprint in colours, 2019, signed and dated, also with artist's stamp on verso. 25.4 x 20 cm.

Estimate: SEK 50 000 – 60 000 / EUR 4 460 – 5 360

493. Withdrawn

494. Willem de Kooning (1904-1997) ‘Woman with corset and long hair’. Lithograph, 1970. Signed in pencil and numbered 60/61, printed by Hollanders Workshop and with their blind stamp (Hollanders Workshop), published by Knoedler Gallery, New York. L. 80.5 x 60 cm. s. 94 x 75.5 cm (Akawara paper).

Literature: Graham 17.

Estimate: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

495. Willem de Kooning (1904–1997) ‘Minnie Mouse’. Lithograph, 1971. Signed in pencil and numbered 56/61, printed by Hollanders Workshop and with their blind stamp. L. 70 x 53 cm. S. 76 x 56.5 cm

Literature: Graham 25.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140

496. Sol LeWitt (USA, 1928–2007) ‘Five Pointed Star with Color Bands’.

Screenprint in colours, 1992. Signed and numbered 45/250 in pencil. Printed by Keizo Tasaka, Watanabe Studio Ltd., Brooklyn. Published by Puma Trading, Paris, or Editiones Catalanes, Barcelona. 83.2 x 56.5 cm (Arches).

Literature: Krakow 1992.03.

Estimate: SEK

497. Roy Lichtenstein (USA, 1923–1997) ‘Brushstrokes’.

Screenprint in colours, 1967, signed in pencil and numbered 29/300.

Published by Leo Castelli Gallery, New York, for the Pasadena Art Museum, California. S, 58.5 x 78.5 cm.

Literature: Corlett 45.

Estimate: SEK 150 000 – 175 000 / EUR 13 380 – 15 620

499.

498. Roy Lichtenstein (USA, 1923–1997) ‘Mirror #8’. Lithograph and screenprint in colours, 1972. Signed and numbered 33/50 in pencil. Published and printed by Gemini G.E.L., Los Angeles. 104 x 134,5 cm.

Literature: Corlett 113.

Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140

‘Composition IV’.

in colours, 1995, signed and numbered 59/120 in pencil. Printed by Brand X Editions, New York, Poublished by the artist and Kennedy for Senate. 33 x 49 cm. L. 57 x 69 cm (BFK Rives).

Literature: Corlett 293.

Estimate: SEK 175 000 – 200 000 / EUR 15 620 – 17 850

500.

in colours with collage, 1973. Signed and numbered 21/55 in pencil. Printed and published by Gemini G.E.L., Los Angeles. 76 x 30 cm. S, 90 x 46 cm.

Literature: Gemini 477.

Belknap 127.

Estimate: SEK 25 000 – 30 000 / EUR 2 230 – 2 680

Roy Lichtenstein (USA, 1923–1997)

Screenprint

Robert Motherwell (USA, 1915–1991) ‘Harvest, with Blue Bottom’ from ‘Summer Light Series’. Lithograph

501. Robert Motherwell (USA, 1915–1991)

Lithograph in colours, 1989. Signed and numbered 12/92 in pencil. Published by Tyler Graphics, Ltd., Mount Kisco, New York with their blind stamp. 99 x 139 cm, S. 104 x 144 cm (Somerset wove paper).

Literature: Belknap 413.

Estimate: SEK 200 000 – 250 000 / EUR 17 850 – 22 310

‘Sling-Shots

Three Mylar screenprints backed with sailcloth and mounted on a wooden lightbox. Executed in 1985, signature and date incised into metal plate 20/25, from the Sling-Shots Lit series, published by Gemini G.E.L., Los Angeles. Prints 189 x 134 cm. Light box 215 x 143 x 32 cm.

Estimate: SEK 150 000 – 200 000 / EUR 13 380 – 17 850

‘Samarkand

Embroidered signature and dated 1988. From a total edition of 74 unique works. Published by Gemini G.E.L., Los Angeles. Fabric assemblage with screenprinting 150 x 100 cm.

Literature: Gemini 1402.

Estimate: SEK 100 000 – 125 000 / EUR 8 920 – 11 150

‘Wave’.

502. Robert Rauschenberg (USA, 1925–2008)

lit #6, Black State’.

502A. Robert Rauschenberg (USA, 1925–2008)

Silks lV’.

503. Thomas Ruff (Germany, 1958–) ‘Sterne 08H24M/-35°’.

Grano-lithograph, 1990, signed and numbered 28/40 in pencil on verso. 67.5 x 45 cm, S. 89.5 x 65 cm.

Provenance: Roger Björkholmen Gallery, Stockholm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

504. Thomas Ruff (Germany, 1958–) ‘Sterne 03H36M/-35°’. Grano-lithograph, 1990, signed and numbered 28/40 on verso. Edition of 40. 67.5 x 45 cm, S. 89.5 x 65 cm.

Provenance: Roger Björkholmen Gallery, Stockholm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

505. Thomas Ruff (Germany, 1958–) ‘Sterne 05H12M/-70°’.

Grano-lithograph, 1990, signed and numbered 28/40 in pencil on verso. 67.5 x 45 cm, S. 89.5 x 65 cm.

Provenance: Roger Björkholmen Gallery, Stockholm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790 (d)

506. Ed Ruscha (USA, 1937–) ’Science Is Truth Found Out, (RED)ition. Silk twill scarf in colours, 2022 Numbered 6 of an edition of 500. Printed signature. Produced by Massif Central, New York. Framed. 129.5 x 129.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

507. 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: SEK 40 000 – 60 000 / EUR 3 570 – 5 360

508. David Shrigley (Great Britain, 1968–) ‘Balance the ball on your nose’.

Screenprint in colours, 2022. Signed, dated and numbered 38/125 verso. (Edition of 125 + 12 AP). Printed on Somerset Satin Tub sized 410 gsm. Published by Shrig Shop. 75 x 56 cm

Certificate of authenticity included.

Estimate: SEK 30 000 – 35 000 / EUR 2 680 – 3 130 (d)

509. Frank Stella (USA, 1936–) ‘Shards V’.

Lithograph and screenprint in colours, 1982, signed, dated and numbered 3/100 in pencil. published by Petersburg Press, New York. 101 x 115 cm (Arches).

Literature: Axsom 148.

Estimate: SEK 100 000 – 125 000 / EUR 8 920 – 11 150

510. Wolfgang Tillmans (Germany, 1968–) ‘Process (Apple tree)’. Inkjet print on paper, 2012. Signed and numbered 62/100 in pencil on verso. Published by Moderna Museets Vänner in a total edition of 100 + 35 AP. 48.3 x 32.9 cm.

Estimate: SEK 8 000 – 10 000 / EUR 720 – 900 (d)

511. Andy Warhol (USA, 1928–1987) ‘Electric chair’.

Screenprint in colours, 1971, signed in ball point pen on verso, and numbered with rubber stamp 34/250 on verso, printed by Silk Print Kettner, Zürich, published by Bruno Bischofberger, Zürich. L./S. 90 x 121,5 cm.

Provenance: Bistborno Gallery, Malmö.

Literature: Feldman & Schellmann II 76.

Estimate: SEK 80 000 – 100 000 / EUR 7 140 – 8 920

512. Andy Warhol (USA, 1928–1987) ‘Herself’, from: ‘Three portraits of Ingrid Bergman’.

Screenprint in colours, 1983, signed in pencil and numbered 116/250. Printed by Rupert Jasen Smith, New York. Published by Galerie Börjeson, Malmö, with their and the artist's copyright stamp on the reverse. 96.5 x 96.5 cm.

Literature: Feldman & Schellmann II.313.

Estimate: SEK 350 000 – 400 000 / EUR 31 800 – 36 300

513. Andy Warhol (USA, 1928–1987) ‘Kimiko’.

Screenprints in colour 1981, signed and numbered 110/250 on verso.

Printed by Licht Editions, Ltd., Denver, published by Colorado State University, Department of Art, Fort Collins, Colorado. 91.5 x 91.5 cm.

Literature: Feldman & Schellmann II 237.

Estimate: SEK 200 000 – 300 000 / EUR 17 850 – 26 770

514. Andy Warhol (USA, 1928–1987) ‘Gee Merrie Shoes’. Offset lithograph with hand colouring, circa 1955. With stamp ‘Estate of Andy Warhol’ and ‘Andy Warhol Art Authentication Board’, also marked ‘PM16.0036’ in pencil on verso. 23,5 x 20 cm.

Provenance: Acquired directly from the Andy Warhol Estate by the current owner, Estimate: SEK 60 000 – 80 000 / EUR 5 360 – 7 140

515.

1928–1987)

– platinum’. Transfer-printed porcelain plaque in colours. Numbered 43/49 on a label verso, published by Rosenthal studio-line, comes in the original presentation box. 51 x 51 x 2 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630

Andy Warhol (After)(USA,

‘Elvis

516. Andy Warhol (After)(USA, 1928–1987) ‘Andy Warhol’. Transfer-printed porcelain plaque in colours. Numbered 5/49 on a label verso, published by Rosenthal studio-line with Andy Warhol Foundation, comes in the original presentation box. 51 x 51 x 2 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630

517. Ai Weiwei (China, 1957–) ‘Bombs’.

Offset lithograph, 2019. Certificate signed by the artist and numbered 25/500 + 50 AP. Published by Mildred Lane Kemper Art Museum, Washington University, St. Louis. 183 x 122 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 340 – 1 790

518. Jonas Wood (USA, 1977–) ‘Bromeliad’. Screenprint in colours, 2020, signed and numbered 165/200 (there were also 25 artist's proofs), published by Wood Kusaka Studios, Los Angeles, with their blindstamp. 59 x 50 cm, S. 71.1 x 58.4 cm.

Estimate: SEK 10 000 – 12 000 / EUR 900 – 1 070

SPRING 2023

DESIGN SALE HELSINKI

Auction Online April 5–16

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Viewing May 11–15 | Auction Live May 16–17

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Auction Online May 17–28

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Viewing June 8–13 | Auction Live June 14–16

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D049: 27 Feb–March 1 | D050: April 3–5

D051: May 8–10 | D052: June 12–14

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Estimates are given in Swedish kronor (SEK) and € (EUR). Bukowskis general terms and conditions for buyers and sellers, b idding instructions, and special terms and conditions for individual lots can be found at bukowskis.com

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All lots with a lower estimate value of 15 000 SEK and above in the Art section of Modern Art and Important Winter/Spring’s hammer sales are searched against the Art Loss Register database.