Cover: 16. Hans Gedda, ‘Carl XVI Gustaf’, 2010. Head of art, Specialist Modern Art Lena Rydén +46 (0)707 78 35 71 lena.ryden@bukowskis.com Head Specialist Design and 20th –21 st Century Works of Art Eva Seeman +46 (0)708 92 19 69 eva.seeman@bukowskis.com Photographs, Contemporary Art Karin Aringer, +46 (0)702 63 70 57 karin.aringer@bukowskis.com Carpets, Textiles & Islamic Works of Art Christopher Stålhandske, +46 (0)708 19 12 58 christopher.stalhandske@bukowskis.com Design & 20th–21st Century Works of Art Jonatan Jahn, +46 (0)703 92 88 60 jonatan.jahn@bukowskis.com Head Specialist Art Andreas Rydén, +46 (0)728 58 71 39 andreas.ryden@bukowskis.com For inquiries please contact
MADE IN SWEDEN + TORBJÖRN LENSKOG COLLECTION Viewing September 3–9, Berzelii Park 1, Stockholm Auction Live September 9, Arsenalsgatan 2, Stockholm
Lot NO 4.
But the influence has been a two–way street, and several of our most beloved icons like Carl Larsson, Anders Zorn, and the Matisse students are just examples of artists who were avant–garde in their time and who, after their stays in di erent places abroad, paved the way for new art directions in the home country.
Bukowskis wants to highlight and praise everything that contributes to the greatness of Sweden with the auction Made in Sweden.
Although Sweden is a small country, it has made an impression in many di erent areas, and icons like IKEA, ABBA, Roxette, Swedish Grace, Ingmar Bergman, Alfred Nobel and Björn Borg are well–known characters and concepts worldwide.
MADE IN SWEDEN Bukowskis presents the Live auction ‘Made in Sweden’ which include selected objects that symbolize Sweden’s extended tradition within design, art, sports, fashion and music.
The internationally renowned World Fairs promoted industrial and economic development, where all the countries could come together to present their latest inventions, designs and architecture. Sweden’s tradition of entrepreneurship and innovation has attracted attention at several of these important world fairs, such as the Paris World Fair in 1925 and the New York World Fair in 1939.
More disciplines have attracted international attention in recent years, like Swedish music and fashion.
1. Torbjörn Calvero (Sweden, 1949–2016), ‘ABBA’, 1978. Signed Calvero and numbered AP. Total edition of 35 + AP. Printed in 2015. Pigment print, image 42 x 42 cm. Including frame 81 x 60.5 cm. (d) Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880 2. Torbjörn Calvero (Sweden, 1949–2016), ‘Roxette’, 1986. Signed Torbjörn Calvero and numbered 1/3 AP. C-print, image 70 x 50 cm. (d) Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880
Provenance:
3.
Exhibitions:
4. Helene Billgren (Sweden, 1952 –), ‘Find your own logo’. A pink leather jacket designed by Ylva Liljefors and a white t–shirt. The leather jacket has been worn by Robyn and was donated to a benefit auction. Helene Billgren has sawn initials onto the jacket and the t–shirt. The jacket is signed ‘YLVA’ and ‘Helene’, the jacket and the t–shirt are both signed ‘Helene’. Measurements ca 60 x 48 cm. Acquired on Dec 5th 2000 at The Life Foundation benefit auction. (d) Estimate: SEK 8 000 – 10 000 / EUR 750 – 940 Albert Wiking (Sweden, 1956 –), ‘Zara’, 2015. Signed Albert Wiking and numbered 5/12. Fine art pigment print, image 100 x 70 cm. Fotografiska i Stockholm, ‘We Have A Dream’, 9 December 2016 – 19 February 2017. (d) Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820
5. Axel Einar Hjorth (Sweden, 1888–1959), a stained pine ‘Lovö’ table, Nordiska Kompaniet, Sweden 1930s. Rectangular, 180 x 75 cm, height 73 cm. Estimate: SEK 40 000 – 60 000 / EUR 3 750 – 5 630 6. IKEA, (Sweden), a set of two easy chairs, model ‘Åke’, Älmhult, Sweden 1950s. Base and armrests in birch, upholstered seat and back covered in sheepskin, grey velvet buttons, height 81 cm, seat height ca 38 cm. Literature: Manufactured by IKEA between 1952–56. Pictured here from the IKEA catalogue 1952. Estimate: SEK 40 000 – 50 000 / EUR 3 750 – 4 690 7. Uno Åhrén (Sweden, 1897–1977), a ‘Swedish Grace’ chair, Gemla Diö, Sweden, 1920–30s. Black lacquered birch, height 81 cm, seat height 43 cm. Estimate: SEK 4 000 – 5 000 / EUR 380 – 470
Josef Frank has had an enormous impact on the history of Swedish design and he is considered to be one of Sweden's most important designers of all time. One of his most popular cabinets, model no. 881, is called The Nationalmuseum’s cabinet simply because it was acquired by the museum in connection with an exhibition in 1952.
JOSEF FRANK
8. Josef Frank (Austria, 1885–1967), a model 881 ‘Nationalmuseiskåpet’ cabinet, Svenskt Tenn, Sweden, post 1985. Veneered in amboina root, mahogany, walnut base, nineteen drawers with brass handles.
Marked Josef Frank Svenskt Tenn. Height ca 120 cm, width 90 cm, depth 45 cm, Literature: Kristina Wängberg–Eriksson, ‘Josef Frank, Livsträd i krigens skugga’, Signum 1994, the model ill. p. 112 and mentioned p. 224. Estimate: SEK 100 000 – 125 000 / EUR 9 380 – 11 720
ASTRID LINDGREN
Lindgren had her breakthrough in 1945 with the first book about Pippi Longstocking. Her writing includes as many as forty books, picture books, a few plays and songs, as well as scripts for films, radio and TV series. Throughout her life Lindgren only collaborated with a select few directors, illustrators and composers, who helped her tell her stories. By and large only four illustrators have depicted Lindgren’s characters: Ingrid Vang Nyman, Björn Berg, Eric Palmquist and Ilon Wikland.
The collection of Astrid Lindgren’s original manuscripts in the National Library of Sweden was included in the UNESCO Memory of the World Register in 2005, and her home on Dalagatan in Stockholm, where she lived for sixty–one years, is today a museum. During the latter part of her life Lindgren became an active opinion–maker and public debater. The subjects that engaged her the most were children’s rights, animal rights and her opposition to nuclear power. Since 2015 Lindgren’s face, along with her native county of Småland, adorns the Swedish twenty crown bill.
Astrid Lindgren (1907–2002) is known amongst both children and adults as Sweden’s most famous writer of children’s books. With her books about Pippi Longstocking, the children of Noisy Village, Nils Karlsson–Pyssling, the children of Seacrow Island and Karlsson on the Roof she is also a well–established name internationally. Her books have been translated into 107 languages and sold over 165 million copies worldwide.
Wikland (b. 1930) is the artist responsible for most of the illustrations in Lindgren’s books, including in the books about Lotta on Troublemaker Street, Karlsson on the Roof, Mardie, Seacrow Island, Nils Karlsson–Pyssling, Ronja, the Robber’s daughter, Mio, My Son, The Brothers Lionheart, as well as the collection of short stories Sunnanäng. Wikland has described their collaboration, how she worked closely with Astrid, showing her each illustration as it was finished for her approval. Both placed a great deal of importance on details and atmospheres, which is clearly demonstrated in both the words and the pictures of the books they worked on together. Wikland would say that they both wrote and drew for the little child within. Throughout the years Astrid Lindgren was awarded many prizes and medals, both in Sweden and internationally. A number of scholarships and grants have been founded in her name. The Astrid Lindgren Memorial Award, established in 2002 by the Swedish government, is, after the Nobel Prize in Literature, the biggest literary award in the world, with prize money of five million Swedish crowns.
10. Ilon Wikland (Sweden, 1930–), The original cover of Astrid Lindgren’s ‘Sunnanäng’. With dedication ‘Till Marianne från Ilon 1963’. Gouache, 25 x 17 cm. (d) Estimate: SEK 40 000 – 50 000 / EUR 3 750 – 4 690 9. Jacob Forsell (Sweden, 1942 –), ‘Astrid Lindgren’, 1987. Signed Jacob Forsell and numbered 7/30. Pigment print, image 38.5 x 26.5 cm. Including frame 56 x 42.5 cm. (d) Estimate: SEK 8 000 – 10 000 / EUR 750 – 940
Estimate: SEK 6 000 – 8 000 / EUR 570 – 750
Estimate: SEK 8 000 – 10 000 / EUR 750 – 940
12. Nils Enström, presumably, a Swedish Modern occasional table produced by Ferdinand Lundqvist & Co, 1940s. Elm and elm veneer, glass top with a wood grid underneath, diameter 92, height 58 cm. Nils Enström was the founder and head designer at Ferdinand Lundqvist & Co's furniture department in Gothenburg from 1919 until 1957. The department store Ferdinand Lundqvist was subsequently acquired by Nordiska Kompaniet in the 1960s.
Literature: Compare with Skrifter från Kungl. Husgerådskammaren 20, Nisser–Dalman, Margareta, Stockholm 2019, No. 12, page 57; Angelica Persson, Ehrling Braghfors, Ulrik Swedrup: Se på mattorna – det är jag, 100 år av textil konst – sedan 1919, Märta Måås–Fjetterström, Båstad/Mölndal 2019, colour plate page 54. Estimate: SEK 40 000 – 50 000 / EUR 3 750 – 4 690
11. An ‘Eden’ Swedish Modern mirror from Gustafs, 1950’s. Frame of beech, label marked. 82 x 55 cm.
13. Märta Måås–Fjetterström (Sweden, 1873–1941), a carpet, ‘Vit botten’, flat weave, ca 291 x 218 cm, signed AB MMF. Designed before 1919, woven after 1941.
14. Steneby Hemslöjdsförening, a rocking chair, 1930–40s. Stained pine, yellow textile cushion, seat height ca 32 cm. Estimate: SEK 8 000 – 10 000 / EUR 750 – 940 15A. Erik Glemme (Sweden, 1905–1959), & Stig Åsberg, a Swedish Modern table, 1940–50s. Teak base, the top with mosaic in black and white signed Stig Åsberg, height 51 cm, the top 106 x 53 cm. Provenance: From the interior of Amanda Christensen AB, Kungsbroplan 1, Stockholm. Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410 15. Olle Sjögren (Sweden, 1909–1975), an easy chair odel ‘800’, OH Sjögren, Tranås, Sweden 1950–60s. Sheepskin, two buttons, height 98 cm, seat height 41 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820
16. Hans Gedda (Sweden, 1942–), ‘Carl XVI Gustaf’, 2010. From ‘Double Elvis Edition’, 2010. From an edition of 100. Signed Hans Gedda. Pigment print, image 35.5 x 35 cm. Including frame 67 x 52.5 cm. Provenance: Double Elvis Gallery, Stockholm. (d) Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350 17. Hans Gedda (Sweden, 1942–), ‘Kung Carl XVI Gustafs hand’, 1996. Signed Hans Gedda. Numbered 12/25 and signed HG verso. Gelatin silver print, image 40 x 39.5 cm. (d) Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 750
BRUNO EHRS
From the series ‘Embracement’. Signed and numbered 6/20 verso. Printed in 2002. Gelatin silver print, image 56 x 44 cm. Exhibitions: Kulturhuset, Stockholm, May – August 2002. Photographic Centre of Athens, Athen, October 2002. Palia Sfagia, Patras Grekland, December 2002. Instituto Svedese di Studi Classici a Roma, Rom, January – February 2003. The Ljubjana City Museum, Ljubjana, January 2004. (d) Estimate: SEK 80 000 – 100 000 / EUR 7 500 – 9 380
18. Bruno Ehrs (Sweden, 1953–), ‘Carl XVI Gustaf, Skeppsholmen, maj 2002’.
As part of Stockholm’s 750th anniversary, Ehrs produced a series of portraits of famous Stockholm residents, including King Carl XVI Gustaf. Ehrs continued to be commissioned by the royal family for o icial portraits and in 2010 created his first original for stamps, depicting the King and Queen of Sweden. This motif is included in the collections of The Swedish Nationalmuseum, Stockholm, and also Instituto Svedese di Studi Classici a Roma. Bruno Ehrs well known picture of His Majesty is also a part of HRH The Crown Princess Victoria's private collection.
Lot NO 19.
Lot NO 22.
20. Michael Anastassiades (Cyprus, 1967 –), a co ee table, ‘Archipelago Lidingö’, Svenskt Tenn, Sweden, post 2013. Organic shaped top, veneered in elm root, base in walnut, maker’s mark, height 48 cm, length ca 101 cm, width ca 55 cm. Estimate: SEK 18 000 – 20 000 / EUR 1 690 – 1 880
Estimate:
21. Jonas Bohlin (Sweden, 1953 –), a rocking chair, ‘Liv’, Jonas Bohlin Design, Stockholm, Sweden. Black lacquered tubular steel, black leather seat, maker’s mark and signed j. Bohlin Jonas Bohlin Design Stockholm, height ca 74 cm, seat height ca 45 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410
19. Claesson Koivisto Rune (Sweden, 1995 –), a ‘Takete’ recliner, Time & Style, Japan, 2018. Upholstered in black leather, black painted steel legs, height 91 cm, width 109 cm, depth ca 106 cm. Designed as one of a contrasting pair for the guestrooms of the Hotel K5 Tokyo. Two custom-designed seating pieces were each other’s contrast – like masculine and feminine, yin and yang, or ‘takete’ and ‘maluma’ (terms from the psychology of shape association). ‘Maluma’ being a curvaceous bright red ‘love-seat’; a small sofa for two. And ‘Takete’ a harshly angular (yet comfortable) black easy chair.
SEK 20 000 – 25 000 / EUR 1 880 – 2 350
22. Jonas Bohlin (Sweden, 1953 –), a ‘Slottsbacken’ cabinet, ed. 71/200, Källemo, Sweden post 1987. Stained oak, sheet iron, the interior with five glass shelves, marked with plaque SLOTTSBACKEN av JONAS BOHLIN 1987 för KÄLLEMO–VÄRNAMO–SWEDEN. Produced in 200 ex 1/200 – 200/200 and 10 ex signed 1/X – X/X. Number 71/200 JONAS BOHLIN, height 210 cm, width 70 cm, depth 37 cm (d) Estimate: SEK 100 000 – 150 000 / EUR 9 380 – 14 060
24. Carl Malmsten (Sweden, 1888–1972), a floor lamp, ‘Staken’, mid 20th century. Walnut, shade by Vanja Sorbon Malmsten, adjustable height ca 145 cm.
Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
23. Stig Lindberg (Sweden, 1916–1982), a stoneware vase, Gustavsberg studio, Sweden 1960. Oval shape with a stylized figure in relief, marked SL and signed Stig L with the studio mark, height 18.5 cm, ca 10.5 x 9.5 cm. (d) Estimate: SEK 4 000 – 5 000 / EUR 380 – 470
25. Olle Alberius (Sweden, 1926–1993), an ‘ariel’ glass vase, Orrefors Gallery, Sweden 1988. Hexagonal shape, decorated with two female figures with birds on their hands against an amber coloured ground, signed Orrefors Gallery–88 Olle Alberius, Olle Alberius. Height 18 cm, diameter 12 cm. (d) Estimate: SEK 6 000 – 8 000 / EUR 570 – 750
26. Bertil Vallien (Sweden, 1938–), a blackened iron candelabrum, ‘Livets träd’, Boda Smide. In the shape of a tree for seven lights with clear and yellow glass pendants, label marked. Height 98 cm. Estimate: SEK 5 000 – 6 000 / EUR 470 – 570 27. Vicke Lindstrand (Sweden, 1904–1983), a glass vase, Kosta, 1950–60s, model 503. Cut decor of petroglyphs, engraved signature Kosta LS 503, height 20.5 cm, diameter 15.8 cm. Estimate: SEK 6 000 – 8 000 / EUR 570 – 750 28. Signe Persson–Melin (Sweden, 1925–), a set of 14 ‘Ruben’ beer glasses, Boda. Some label marked. Height 15.5 cm. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
GAN always depicted specific objects and people, stylizing their forms and breaking large planes into separate elements. Male images (sailors, soldiers, people of hard-working professions), which the artist used continuously in his works, are interspersed with urban landscapes and images of various mechanisms in action. They symbolize and visualize technological progress and the speed of modern life.
Gösta Adrian-Nilsson (his works signed with the acrynym GAN) came to be a pioneer of Swedish modernism. At the beginning of the 20th century he was an active member of the German progressive group Der Sturm in Berlin and joined German Expressionists, Italian Futurists, and later French Cubists, making a considerable contribution to the spread of these art movements in his homeland. He called himself a cubofuturist.
GÖSTA ADRIAN–NILSSON
When GAN in 1915 was given Fenimore Cooper’s books The Last of the Mohicans and The Deerslayer, they inspired him to depict Indians which was a recurring motif in his works. The auctions water colour/collage is an exquisite exampel from this period.
Another important influence was GAN’s friendship with Fernand Léger in Paris at the beginning of the 1920s. During this period GAN’s art became more abstract, approaching Synthetic Cubism. He often uses collages, combining various objects of everyday life that were completely unrelated to each other, as well as stencilled inscriptions and signs.
29. Gösta Adrian–Nilsson (Sweden, 1884–1965), ‘Livsfarlig’. Signed GAN. Executed 1922. Water colour and collage, 31 x 17,5 cm. Provenance: Galerie Bel’Art, Stockholm. Exhibitions: Prins Eugens Waldemarsudde, Stockholm, ‘GAN – modernistpionjär och outsider’, 19/3–29/5 2011, cat. no. 111. Galerie Bel’Art, Stockholm, ‘GAN – Gösta Adrian–Nilsson, arbeten på papper 1915–1924’, 2015. Literature: Galerie Bel’Art, Stockholm, ‘Gösta Adrian–Nilsson, arbeten på papper 1915–1924’, 2015, pp. 68–69 in the exhibitioncatalogue. (d) Estimate: SEK 100 000 – 125 000 / EUR 9 380 – 11 720 30. Gösta Adrian–Nilsson (Sweden, 1884–1965), ‘Indianstriden’. Signed GA–N. Executed 1918. Ink and gouache on paper, 18 x 15 cm. Provenance: Egon Östlund, Halmstad. Jan Östlund, Borås. Bosse Östlund, Borås. Galerie Bel’Art, Stockholm. Private collection. Exhibitions: Liljevalchs konsthall, Stockholm, ‘GAN retrospektiv’, 1958. Galerie Bel’Art, Stockholm, ‘GAN – Gösta Adrian–Nilsson, arbeten på papper 1915–1924’, 2015. Literature: Galerie Bel’Art, Stockholm, ‘GAN – Gösta Adrian–Nilsson, arbeten på papper 1915–1924’, 2015, pp. 46–47 in the exhibition catalogue. (d) Estimate: SEK 60 000 – 80 000 / EUR 5 630 – 7 500
31. Kers Erik Jönsson (Sweden, 1802–1852), ‘De Saba Konungar Kommo tre’. A provincial painting by Kers Erik Jönsson, Dalarna/Dalecarlia, dated 1828 and signed ‘E.J.S’. 124 x 106 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350 32. Kers Erik Jönsson (Sweden, 1802–1852), ‘Den Kenaneeska qvinnan som Ropar efter Jerum/Jesus’. A provincial painting by Kers Erik Jönsson, Dalarna/Dalecarlia, signed. 126 x 107 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350
34. A carriage cushion, double–interlocked tapestry, ca 46 x 96 cm, Scania, mid 19th century. With a so called lightning pattern.
35. A carriage cushion, ‘the Annunciation’, tapestry weave, ca 103 x 51 cm, south western Scania (Sweden), 1833. A dark brown melange ground with a polychrome stylized pattern of two wreaths with the Annunciation scene crowned by angels and surrounded by a variety of flowers. In the center the monogram DND, 1833.
Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130
Literature: See Willborg, Peter: Flatweaves from Fjord and Forest; Scandinavian Tapestries of the 18th and 19th Centuries, London 1984, pages 18–19. Estimate: SEK 6 000 – 8 000 / EUR 570 – 750
Literature: Compare with Gammal Allmogeslöjd från Malmöhus Län utgifven af Länets Hemslöjdsförening, Flamskväfnader, Häftet 5, Malmö 1919, colour plates 217, 270. Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410
33. A carriage cushion, double–interlocked tapestry, ca 47 x 104 cm, Oxie or Skytts district, early 19th century. With polychrome, so called, lightning pattern. The original the back piece is intact.
36. Kjartan Slettemark (Sweden, 1932–2008), ‘IDM’, (‘Nixon Visions’), 1971. Signed Kjartan and dated –74. Silkscreen in colours 67.5 x 82 cm. (d) Estimate: SEK 8 000 – 10 000 / EUR 750 – 940 37. Carl Johan De Geer (Sweden, 1938–), ‘Mah–Jong’, 1967. Signed Carl Johan De Geer. Five photographs, sheet 24 x 30.5 cm per part. (d) Estimate: SEK 6 000 – 7 000 / EUR 570 – 660
39. Carl Johan De Geer (Sweden, 1938–), ‘Den stora missuppfattningen, 1960-tal’. Signed Carl Johan De Geer and numbered 3/50. Printed later. Sheet 61 x 83 cm. (d) Estimate: SEK 5 000 – 6 000 / EUR 470 – 570 38. Carl Johan De Geer (Sweden, 1938–), ‘Skända flaggan’. Signed Carl Johan De Geer and numbered 94/99. Lithograph in colours, sheet size 91 x 60 cm. At the end of the 1960s De Geer worked in the editorial o ice for the left political, satirical magazine PUSS. At that time he exhibited, together with his then wife Marie–Louise Ekman, at the legendary Gallery Karlsson in Stockholm. This exhibition was later referred to as ‘The uproar at Karlsson’s’. Carl Johan showed politically provocative prints with titles like ‘Skända flaggan’ (Desecrate the flag), ‘Vägra vapen’ (No to weapons) och ‘USA mördare’ (USA murderers).
After receiving a report of seditious art, the police confiscated the sheets which were destroyed, only a few examples were saved. ‘Skända flaggan’ is included in the collections of Nationalmuseum, the Police museum in Sweden and in some private collections.
Carl Johan De Geer was born 1938 in Montreal, Canada and lives in Stockholm since 1951. He is educated at Konstfack (University of Art) in Stockholm 1959–1963, graphic design. CJDG was a founding member of the textile design group ‘10-gruppen’. Together with Håkan Alexandersson he had a film production company for 20 years which, among others, produced the legendary child program ‘Tårtan’. Since the beginning of the 1960s Carl Johan De Geer has been a prominent figure in Swedish cultural life. (d) Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410
THE GUITARSHAGSTRÖM Hagström was founded by Albin Hagström in 1925. It quickly became one of the most successful accordion manufacturers exporting the instruments to several countries all over the world. After Albin Hagström’s death in 1952, the accordion soon became out–of–style and Hagström, with new CEO Erik Wisén at the helm, had their sights set on the new electronic instruments such as the electric guitar and bass. Albin’s son Karl–Erik Hagström returned to the company after a trip to the USA in 1958 which k icked o a new era. In 1958 they present their first electric guitar, Hagström “Delux” and the following year “Standard 80” or “Sweetone”. Several models followed and Hagström became a popular brand. The guitars were played by Elvis Presley, Kurt Cobain, The Beatles, and Frank Zappa, among others. Today the guitars have become a cult classic due to their characteristic design and the choice of materials which were quintessential of that era.
880
40. Hagström, electric guitar, ‘Standard 80’, Älvdalen Sweden, ca 1960–61. Body and neck in birch, acrylic fretboard, celluloid covered body and back of neck/head, red sparkle front, 22 frets and 615 mm (23 1/4 inches) scale length, bolt on neck, pickup unit with two singel coil pickups and six buttons (P–26). Serial number 460055. Estimate: SEK 18 000 – 20 000 / EUR 1 690 – 1
42. Hagström, electric guitar, ‘DeLuxe Large Model’, from the first batch of 200 guitars, Älvdalen Sweden, 1958. Body and neck in birch, acrylic fretboard, celluloid covered body and back of neck/head, red sparkle front, 22 frets and 615 mm (23 1/4 inches) scale length, bolt on neck, pickup unit with two humbucker pickups and six buttons (P46). Serial number 449201. Reportedly this is the first example executed in ‘Red Sparkle’ Estimate: SEK 30 000 – 35 000 / EUR 2 820 – 3 280
41. Hagström, electric guitar, ‘DeLuxe Small Model’, from the first batch of 200 guitars, Älvdalen Sweden, 1958. Body and neck in birch, acrylic fretboard, celluloid covered body, front and back of neck/head, 22 frets and 615 mm (23 1/4 inches) scale length, bolt on neck, pickup unit with two singel coil pickups and four buttons (P–24). Serial number 449119. Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350
45. Anders Pehrson (Sweden, 1912–1982), a pair of table lamps, ‘Bumlingen’, ateljé Lyktan, Åhus, Sweden 1970s. Green and orange lacquered metal, chrome plated details, height ca 55 cm.
46. Hans–Agne Jakobsson (Sweden, 1919–2009), a model ‘G–123’ floor lamp, Hans–Agne Jakobsson AB Markaryd, Sweden 1960–70s. Brass, textile shade, maker’s mark Hans–Agne Jakobsson AB Markaryd G123/500, height 140 cm, diameter 60 cm. Estimate: SEK 6 000 – 8 000 / EUR 570 – 750 44. Bruno Mathsson (Sweden, 1907–1988), a pine and beech shelf, Firma Karl Mathsson, Värnamo, Sweden 1966. Pine shelves, beech wood consoles, maker’s mark Firma Karl Mathsson Värnamo 1966, the length of the shelves 225 cm, depth 20 cm, height of the consoles 16–31 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820 43. Withdrawn.
Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
47. Hugo Blomberg, Ralph Lysell & Gösta Thames ‘Ericofon’ or ‘The cobra telephone’, LM Ericsson, Sweden, 1950s. Green plastic, height 21 cm. original box, cord and instruction included. Estimate: SEK 1 500 – 2 000 / EUR 140 – 190
It is not a coincidence that the Ericofon, or the Cobra telephone as it is also called, has played a significant role in the history of the telephone. For a long time, phone manufacturers around the globe had dreamt about constructing a phone in one piece. Already in the 1930s, Siemens & Halske in Germany, had tried to construct such a phone, but the project did not get any further than a short test series. Instead, it was the Swedish company Ericsson that introduced the ground–breaking ‘all in one’ phone on the market in 1956.
The Ericofon was an immediate success and six months after the telephone had been launched, orders exceeded production capacity by 500 percent. The Cobra telephone instantly became a sought–after design object. When the Museum of Modern Art (MoMa) in New York presented the 300 best-designed industrial products of the entire 20th century in the 1970s, the Cobra telephone was on the list and is today included in MoMA's collection.
The Ericofon marks a groundbreaking paradigm shift in phone design – before the Ericofon, phone devices were produced in heavy, black bakelite. It is also the first Swedish–made phone that was given a product name, rather than just a number or letter ID. With the Ericofon, the phone was seen more as a designer product than just an extension of the telephone.
COBRA
48. Oskar Bergman (Sweden, 1879–1963), View over Stockholm. Signed Oskar Bergman. Watercolor, 26 x 18.5 cm. Oskar Bergman was self–taught afound his inspiration during his travels to Germany, Italy and France during the first half of the 20th century. His works are characterized by symbolic, atmospheric land– and cityscapes in bright colors. (d) Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820 49. Einar Jolin (Sweden, 1890–1976), Deer by the water. Signed Jolin and dated 1954. Canvas 38 x 46 cm. (d) Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 750 50. Isaac Grünewald (Sweden, 1889–1946), Landscape. Signed Grünewald. Watercolor 51 x 66 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350
51. Axel Olson (Sweden, 1899–1986), ‘Stilleben med vindruvor’. Signed. Canvas, 19 x 25 cm. (d) Estimate: SEK 5 000 – 6 000 / EUR 470 – 570 52. Inge Schiöler (Sweden, 1908–1971), Landscape with trees. Signed Inge Schiöler. Paper panel, 45 x 38 cm. (d) Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 750 53. Einar Nerman (Sweden, 1888–1983), Thumbelina. Signed Einar Nerman. Panel 32.5 x 23 cm. (d) Estimate: SEK 40 000 – 50 000 / EUR 3 750 – 4 690
In 1873, Märta Måås–Fjetterström was born in the village of Kimstad in Östergötland. She later became one of the world’s foremost textile artists. Her pioneering and innovative ideas were combined with the knowledge and respect for the history of textile art. This is mainly seen in the knotted pile carpet ‘Vita spetsporten’. It was created in 1934 and is a modern interpretation of a several hundred years old pattern from an oriental prayer rug. In 1919, she opened her own workshop in Båstad, from where she then produced famous carpets such as ‘Vit botten’ and ‘Sommarmattan’. (You can find these carpets in the auction.) In 1941, Märta Måås–Fjetterström died and Barbro Nilsson was employed as artistic director of the recently formed AB MMF. The company continued to produce carpets with patterns drawn by Märta Måås–Fjetterström. One of the earliest carpets, which was produced under Barbro Nilsson's leadership, was ‘Snäckorna’. (You can find one exampel in the auction.) The pattern testifies to the impressions Barbro Nilsson got from the nature around her.
54. Märta Måås–Fjetterström (Sweden, 1873–1941), a carpet, ‘Sommarmattan’, flat weave, ca 344 x 258 cm, signed MMF. Designed before 1925. Woven befor 1941. Estimate: SEK 60 000 – 80 000 / EUR 5 630 – 7 500 55. A carpet, flat weave, ca 291.5 x 186 cm, signed MM. Sweden, the 1950’s Estimate: SEK 40 000 – 50 000 / EUR 3 750 – 4 690 MÄRTA MÅÅS–FJETTERSTRÖM
56. Märta Måås–Fjetterström (Sweden, 1873–1941), a drape, ‘Brunrandig’, flat weave, ca 243 x 141 cm, signed MMF. An early design, woven before 1942. (Rare).
57. Barbro Nilsson (Sweden, 1899–1983), a carpet, ‘Snäckorna’, tapestry weave, ca 204 x 140 cm, signed AB MMF BN. (AB Märta Måås–Fjetterström, Barbro Nilsson). Designed in 1943. Literature: Compare with Lundgren, Tyra: Märta Måås–Fjetterström och väv–verkstaden i Båstad, Stockholm 1968, plate 48; af Klercker, Susanne: Antikt – Bukowskis experter berättar, Västerås/Spanien 2006, colour plate page 182; Liljevalchs konsthalls katalog: Märta Måås–Fjetterström, Märta flyger igen, 90 år med Märta Måås–Fjetterström, Värnamo 2009, colour plate page 145. Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820
Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130
58. Christer Strömholm (Sweden, 1918–2002), ‘Paris, 1962’. Fine Art Edition 2015, printed by Christer Strömholm Estate, stamped verso. Numbered AP 4/5 verso. Total edition of 25 + 5 AP. Baryt print, image 23.5 x 17.5 cm. Lars Hall and Gunilla Knape (ed.), ‘Imprints by Christer Strömholm – CHR. The Hasselblad Award 1997’, 1998, illustrated on p. 27. Joakim Strömholm and Jakob Strömholm, ‘Christer Strömholm 1918–2002, On verra bien’, 2002, illustrated on p. 35. Moderna Museet ‘En annan historia’, 2011, illustrated on pl. 96. Joakim Strömholm (ed.), ‘Post Scriptum Christer Strömholm’, 2012, illustrated on p. 99. (d) Estimate: SEK 50 000 – 60 000 / EUR 4 690 – 5 630 59. ‘Greta Thunberg’, 2018. Signed and numbered 4/25 verso. Pigment print, image 48.5 x 70 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410 60. Helena Blomqvist (Sweden, 1975–), ‘Darkness on the edge of town’, 2003. Signed and numbered 5/5. Total edition of 5 + 2 AP. Lambda print mounted on acrylic glass, 69.5 x 55.5 cm. (d) Estimate: SEK 40 000 – 50 000 / EUR 3 750 – 4 690
Literature:
61. Håkan Wretljung (Sweden, 1950–), ‘Kronprinsessan Victoria på Drottningholms slott’, 1984. Signed Håkan Wretljung and numbered 3/5 verso. Pigment print, image 35.5 x 40 cm. Estimate: SEK 5 000 – 6 000 / EUR 470 – 570 62. Mikael Jansson (Sweden, 1958–), ‘H.K.H Kronprinsessan Victoria #2, Stockholm Studio, 2002’. Signed Mikael Jansson and numbered 2/6 and dated 2004 verso. Gelatin silver print mounted to aluminum and framed, image 43 x 43 cm. Including frame 81 x 68 cm. Provenance: Christian Larsen Gallery, Stockholm. (d) Estimate: SEK 40 000 – 60 000 / EUR 3 750 – 5 630 63. Rickard Eriksson (Sweden, 1980–), ‘Kronprinsessan Victoria och Prins Daniel’, 2010. Signed Rickard Eriksson and numbered 8/25. C–print, image 45 x 64.5 cm. Including frame 72 x 90 cm. Provenance: Tres Hombres Art, Halmstad. (d) Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410
Lot NO 64.
Lot NO 67.
65. Björn Trägårdh (Sverige) (1908–1998), an easy chair, model "3665", Firma Svenskt Tenn, Sweden. Upholstered in a beige textile, birch feet. Seat height ca 30 cm, height 75 cm, width 95 cm. Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130
Estimate:
66. Carl Fagerlund (Sweden, 1915–2011), a celing lamp, for Orrefors, Sweden, mid 20th century. Glass and metal, the shade in 12 parts in the shape of leaves, stem and ceiling cup in glass, height ca 53 cm, diameter ca 61 cm. Estimate: SEK 6 000 – 8 000 / EUR 570 – 750
64. Josef Frank (Austria, 1885–1967), a model 2135 cabinet, Firma Svenskt Tenn, post 1985. Veneered in cherry and burled wood, interior with shelves, adjustable shelf, width 106, depth 44, height 140 cm. SEK 80 000 – 100 000 / EUR 7 500 – 9 380
The rustic pine furniture "Lovö" whose namesakes sit dotted amongst the Stockholm archipelago were designed at Nordiska Kompaniet by the architect Axel Einar Hjorth. Interior designers and buyers worldwide are now queueing up to decorate their homes with his modernistic and refined furniture. During the early 1930s, many Swedish summerhouses were fitted out with Hjorths modernistic and functional pine furniture. He showed his talent as an architect by transitioning from designing furniture in exclusive Swedish Grace–era for a small number of clients to drawing groups of furniture for the growing middle class who with a better economy, had the opportunity to furnish their new summerhouses with the most modern pieces of the time.
67. Axel Einar Hjorth (Sweden, 1888–1959), a set of five ‘Lovö’ chairs, Nordiska Kompaniet, 1930s. Model with the high back, iron mounts. Height 95 cm, seat height ca 40 cm. Estimate: SEK 75 000 – 100 000 / EUR 7 030 – 9 380
AXEL EINAR HJORTH
Notes from the foundry. The sand cast candle holder ‘Candle Collage’ was first designed for an exhibition with ‘Whyred Art Projects’ titled ‘Handmade Massproductions’ (2011) (An earlier version from 2011 was made in wood). For this first exhibition at Whyred, ten brass Candle Collage and a series of 25 in bronze were produced, all of which were made at Rosengren's foundry in Limhamn. Skultuna took over (2012) the production of the brass candle holder and sells it in serial production using the shorter title ‘Collage’ and casting it at Skultuna's foundry. Folkform, under its own studio–based management, has continued to manufacture Candle Collage in Bronze in Sweden at the foundry in Malmö. The candle holders are cast in di erent designs in limited series of 25 copies (of each type of patination/oxidation).
Photo: Magnus Laupa.
‘In the candle Holder Candle Collage, the simple tea light is combined with the pillar candle and chandelier candle creating a cancel collage. The combination of points of light creates a completely new and exciting expression.’
69. Owe Johansson (Sweden, 1939–), a pair of sterling silver candlesticks, Lund (Hven) Sweden 1994. Leg decorated in blue and with silver–gilt details, maker’s marks U10, height ca 20 cm, total weight ca 800 g. (d) Estimate: SEK 5 000 – 6 000 / EUR 470 – 570 70. Ray Urban (Sweden, 1929–2015), a sterling creamer and sugarbowl, Stockholm 1966. Lengths 8,5–9 cm. Total weight 285 g, comes with the original box. (d) Estimate: SEK 4 000 – 5 000 / EUR 380 – 470 68. Folkform, (Sweden, 2005–), ‘Candle Collage’, candle holder, ed. 20/25, Studio Folkform, 2010. Sand casted bronze, marked FOLKFORM 20/25, height 16 cm, length 34 cm, width 10,5 cm. Exhibitions: Vandalorum, ‘Produktionsnoveller’, 2019–2020. Form och Design Center, Malmö, ‘Produktionsnoveller’ 2020. Rian, Falkenberg, ‘Produktionsnoveller’ 2020. (d) Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130
71. Vivianna Torun Bülow–Hübe (Sweden, 1927–2004), a silver and beach pebble choker, France /Sweden 1950–1960s. The choker in the shape of a belt, French hallmarks and stamped TORUN. Inner cirmumference ca 30 cm, hieght of the pendant 9,5 cm. Provenance: Marcia Coleman Bülow Hübe, the daughter of Torun Bülow Hübe. (d) Estimate: SEK 75 000 – 100 000 / EUR 7 030 – 9 380 72. Wiwen Nilsson (Sweden, 1897–1974), a silver and rock crystal necklace. Pendant ca 16 X 23 mm, length 62 cm, weight 28.5 g. Signed Wiwen Nilsson and with Swedish hallmarks AN, Lund 1943. (d) Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130
73. Thore Sunna (Sweden, 1942–), a grouse sculpture. Birch and reindeer–horn. Signed Tore Sunna. Length 32, height 20 cm. Provenance: From a private collection. (d) Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350 75. Thore Sunna (Sweden, 1942–), a saltflask. Birch and and engraved reindeerhorn. Signed Thore Sunna. Height 27 cm. Width 17 cm. Provenance: From a private collection. (d) Estimate: SEK 8 000 – 10 000 / EUR 750 – 940 76. Hans Sunna (Sweden, 1964–), a milk vessel. Birch and engraved reindeer horn. Signed HMSUNNA. Length 29 cm. Provenance: From a private collection. (d) Estimate: SEK 4 000 – 5 000 / EUR 380 – 470 74. Hans Sunna (Sweden, 1964–), a lidded sugar bowl. Birch and engraved reindeer horn. Signed HMSUNNA. Length 11, height 7 cm. Provenance: From a private collection. (d) Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
77. Thore Sunna (Sweden, 1942–), a lidded box. Birch and engraved reindeer horn. Signed T. Sunna. Width 17, depth 13, height 15 cm. Provenance: From a private collection. (d) Estimate: SEK 14 000 – 15 000 / EUR 1 320 – 1 410 78. A milk vessel, signed HEL. Birch with decor of engraved reindeer horn. Length 34 cm. Width 20 cm. Provenance: From a private collection. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380 79. Anders Sunna (Sweden, 1937–), a ceremonial drum. Birch with inlays of engraved reindeer horn. Drumhead with fihural décor. Length 29 cm. Provenance: From a private collection. (d) Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350 80. A gavel. Birch and engraved reindeer horn. Length 24,5 cm. Provenance: From a private collection. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
The poster at auction is signed by all members of The Beatles; John Lennon, Paul McCartney, George Harrison and Ringo Starr. The poster is dedicated to their newfound friend Bumba, the leader of Trio mé Bumba. Bumba asked for a signed poster during the tour and then kept it in his son's bedroom for several years. Later, the poster was sold to Lennart Karlsson, who ran several of the Baldakinen group's dance restaurants in Stockholm. He met Bumba during a Beatles event at one of his restaurants and then bought the poster which was hung in Karlsson's o ice where the current owner saw it and asked to buy it.
THE BEATLES IN SWEDEN
The concert poster is from The Beatles' first post–breakthrough international tour. On March 22, 1963, the Beatles released their first album, Please Please Me, rewriting the world order. The tour, which was capped o by the iconic radio recording in Karlaplansstudion and the TV show ‘Drop–in’ with host Lill–Babs, are today some of the most significant musical moments in Swedish music history.
A funny detail is that Lill–Babs got to sign autographs for the then relatively unknown Beatles. The radio program was originally broadcast on Sweden’s Radio P1 on the evening of November 11, 1963 and was released by Apple Records on the album ‘Anthology 1’ in 1995. For the Beatles, this was their first big international breakthrough and the visit to Sweden was the starting point for their international triumph. The Swedish orchestra Trio mé Bumba was going to tour Sweden with a new, unknown band from England, The Beatles, but the organizer was unsure how the British would attract an audience, so initially The Beatles were the opening act. After the breakthrough with the radio show, there was a quick switch and Trio mé Bumba had to stand back due to enormous crowd pressure, and the Beatles became the main act.
81. The Beatles, signed concert tour poster, Sweden, 1963. ‘The Beatles! Europas popband nummer ett’. With dedication ‘To Bumba, Best whishes Paul McCartney’ and with autographs by George Harrison, John Lennon and Ringo Starr. 76 x 66 cm. Estimate: SEK 200 000 – 300 000 / EUR 18 750 – 28 120
Lot NO 85.
Lot NO 89.
82. A cotton dress picturing ‘The Beatles’, Sweden 1960’s. Length of back ca 102 cm. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380 83. Withdrawn. 84. Idol cards, ‘Sportens stjärnor’, including Cassius Clay, Nacka Skoglund and others, Hemmets Journal, 1960s. 20 pages + 1, ca 16 x 11 cm. Plastic cover. Inlcuding page 6 with nr 2 Cassius Clay among others. Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820
The poster has the date of the first planned concert in Stockholm printed underneath the black area. The second concert, date printed on the poster, was cancelled due to the death of Kurt Cobain on the 5 of April. Framed. Measurements without frame ca 58 x 84 cm.
85. Nirvana, a concert poster for the canceled show at the Isstadion, Stockholm on April 26, 1994.
Estimate: SEK 5 000 – 6 000 / EUR 470 – 570 87. Ture Sjölander (Sweden, 1937–), ‘ABBA’. Silkscreen in color, 1977, signed and numbered HC 34/70. Also with autographs by all four members of ABBA in pencil. I: 48 x 66 cm. (d) Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 750 88. Withdrawn
Estimate: SEK 8 000 – 10 000 / EUR 750 – 940 86. Käbi Laretei’s practice piano, Sweden 20th century. Mounted in a beech wood case, height 9 cm, length 93 cm, depth 23 cm. A drawing ‘Till mamma från Daniel’ probably made by her son Daniel Bergman included in the case.
The concert pianist Käbi Laretei (1922-2014) Laretai was born in Estonia but worked most of her life in Sweden. Käbi Laretei was married from 1950–1959 to the conductor Gunnar Staern, with whom she has a daughter Linda Stern (born 1955). In 1959 she married director Ingmar Bergman; from 1967 until their divorce in 1969, they lived separately. Together they have a son, Daniel Bergman, who drew the drawing that is a part of the lot.
The present owner acquired the drum sets directly from Ola Brunkert and Malando Gassama, who he knew personally.
Photo: JPJ Audio Pty Ltd (formerly Jands Production Services Pty Ltd).
Provenance: Ola Brunkert (1946–2008) and Malando Gassama (1946–1999).
ABBA, (OLA BRUNKERT OCH MALANDO GASSAMA)
During their concerts, ABBA usually had double drum sets on stage with legendary musicians Ola Brunkert and Malando Gassama on drums. Ola Brunkert (1946–2008) recorded albums and played live with ABBA during the most important years. From the 1970s and onwards he was one of Sweden’s most renowed and contracted percussionist. He recorded and performed with many notable artists such as Arne Domnérus, Tomas Ledin, Ted Gärdestad, Björn J:son Lindh, Scafell Pike, Peter Lundblad, Ingemar Olsson, Ulf Lundell, Pugh Rogefeldt, John Holm, Janne Scha er, Björn Skifs, Sveriges Jazzband, Hansson de Wolfe United, Lill Lindfors, Monica Törnell, Magnus Uggla, Simons, Samuelsons och Jerry Williams. Malando Gassama (1946–1999, born in Gambia but spent most of his music career in Sweden). Gassama recorded and performed with many notable Swedish and international artists such as ABBA, Al Jarreau, Anni–Frid Lyngstad (of ABBA), Ted Gärdestad, Bette Midler, Gábor Szabó, Janne Scha er, David Sanborn, Viktoria Tolstoy, Jaco Pastorius, and Blacknuss Allstars, etc.
89. ABBA, (Ola Brunkert och Malando Gassama), two drumsets, Arbiter ‘Autotune’, from the Europe and Australia tour 1976–77. Both drumsets consist of snare drum 14’, bass drum 22’, toms 12’, 13’, and 16’ inches. Glassfiber shells. Chrome plated rims and hardware. One setlist on one of the toms. Labels with Brunkerts and Gassamas names on the cases that are included.
Estimate: SEK 120 000 – 150 000 / EUR 11 250 – 14 060
90. Ernst Billgren (Sweden, 1957–), ‘Strykjärnet’. Signed EB. Oil on panel and mixed media. 78 x 89 x 12.5 cm. Provenance: Åke Andrén Collection, Stockholms Auktionsverk, September 21, 2011, cat. no. 107. Exhibitions: Konstvänner, Jönköpings läns museum, 2007. (d) Estimate: SEK 40 000 – 50 000 / EUR 3 750 – 4 690 91. Carl Fredrik Reuterswärd (Sweden, 1934–2016), Untitled. Signed Reuterswärd. Watercolor and lacquer on paper, 88 x 63 cm. (d) Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350 92. Peter Frie (Sweden, 1947–), ‘Landskap’. Signed Peter Frie and dated 1994 on verso. Oil on canvas laid down on panel, 48.5 x 81.5 cm. Provenance: Acquired directly from the artist. Thence by descent to present owner. (d) Estimate: SEK 60 000 – 80 000 / EUR 5 630 – 7 500
What characterizes Ernst Billgren is his reckless way of challenging conventional notions of what constitutes good art. He mixes fine painting with kitsch and lets animals and birds into homes and ballrooms as if there had never been any boundaries. The artworks often combine historical symbols with commercial perceptions of art to investigate artistic conventions.
ERNST
93. Ernst Billgren (Sweden, 1957–), ‘Diana’. Signed EB. Panel and glass, 109 x 124 m. (d) Estimate: SEK 100 000 – 125 000 / EUR 9 380 – 11 720
Ernst Billgren's artistry is characterized by a diversity that is unique in Swedish art life. His artistic production covers such widely di erent disciplines as painting, sculpture, scenography, fiction, film, music and furniture design. Throughout these di erent genres, there are clear characteristics such as his interest in nature paintings, romanticism, and the mythological sphere. BILLGREN
Many of Ernst Billgren’s paintings depict nature and interiors where animals have taken over and no humans are to be seen. Still, in the auction’s painting, Diana has been given a central place in the composition and her figure fills up the entire canvas.
94. Pierre Forssell (Sweden, 1925–2004), a table lamp, Skultuna, Sweden, 1987. Perforated brass, maker’s mark Skultuna 1987 Pierre Forssell, height 40 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410 95. Virgil Abloh & Ikea Markerad, a carpet, ‘Wet Grass’, ca 195 x 132 cm. Designed in 2019. Estimate: SEK 4 000 – 5 000 / EUR 380 – 470 96. Johan Jonsson (Sweden, 1977–), a ‘Luscious Two (golden edition)’ table, Ed. 6 + 2AP, Sweden 2013–2014. Titanium nitride plated stainless steel, signed Luscius Two Series Golden Edition Johan Jonsson AP2, height 35 cm, length 250 cm, width 77 cm. (d) Estimate: SEK 50 000 – 60 000 / EUR 4 690 – 5 630
97. Uno & Östen Kristiansson (Sweden, 1925–2009), 3 ceiling fixtures, Luxus, Vittsjö, 1960–70s. Cylender shaped shades in white acrylic glass, details in rosewood, maker’s mark, height of shade 29 cm. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380 98. Mats Theselius (Sweden, 1956–), a ‘National Geographic’ cabinet, Källemo, Sweden, post 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. Height 171 cm, width 57,5 cm, depth 22 cm Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350 99. Yngve Ekström (Sweden, 1913–1988), A black ‘Lamino’, easy chair with ottoman, Swedese, Sweden 21st Century. Black lacquered laminated wood, black sheepskin, maker’s mark Swedese Design Yngve Ekström Made in Sweden, height ca 102 cm, seat height ca 40 cm. Estimate: SEK 8 000 – 10 000 / EUR 750 – 940
100. Bengt Lindström (Sweden, 1925–2008), ‘Les Mutants’. Signed Lindström and dated –61. Panel 300 x 250 cm. Certificate from Comité Lindström is included. Provenance: Acquired 1965 by the present owner. (d) Estimate: SEK 250 000 – 300 000 / EUR 23 430 – 28 120
BENGT LINDSTRÖM
At the end of the Second World War several new styles began to flourish around Europe as a reaction to the culturally sparse wartime years. Lindström was inspired by the expressive painting of the CoBrA movement, Jean Dubu et’s art brut and the psychological imagery of Francis Bacon. These artistic encounters were cathartic to Lindström’s own painting. Lindström lived amongst his artistic soulmates in France, where his art came to be appreciated by an international audience. However, his roots in the small, isolated northern Swedish village of Storsjö Kapell, and its mystical landscapes of mountains, glimmering lakes and deep forests, are forever present in his imagery, which bears traces of nature poetry. His father was very interested in the cultural heritage of the Sami and at only three days old Bengt’s godfather, the Sami King Kroik, administered the ‘Baptism of the Earth’. In order to gain strength and power a child is literally pulled through a hole, often in the roots of a tree, which is believed to have magical powers. The young Bengt would accompany Kroik on his walks through the forests and mountains, whilst the Sami King recounted to him the legends and mysteries of the North. The characters from these stories would later come alive in Lindström’s own imagery.
Bengt Lindström is well–known to a Swedish audience, but he is also a big name internationally with regular exhibitions in galleries and museums in France, Italy, the United Kingdom, Germany and Belgium. As well as his his large production of paintings his graphic work, using lithography and etching, has played a major part in Lindström’s practice. He has executed a great number of public and monumental works in both Sweden and abroad. Lindström’s artistic practice has also included glass, pottery, textiles and sculpture.
Bengt Lindström’s time attending Isaac Grünewald’s Stockholm school of painting during the mid–1940s functioned only as a springboard. As early as 1948 he was already living in Paris, after a research trip to Florence where he had become fascinated by old masters such as Giotto and Cimabue. In Paris he encountered French modernism and became a student of, amongst others, André Lhote and Fernand Léger. He searched for his mode of expression in both abstract and non–figurative painting.
EINAR
Rolf Gösta Calmeyer (1927–2022). Born Nystedt and later called himself Nystedt Lysell to finally taking his mother's maiden name Calmeyer.
AXEL HJORTH, FURNITURE ‘BLIDÖ’, PROVENANCE: Ralph Lysell and Bell Calmeyer, he from Sweden and she from Norway, met in the USA and married in 1926, one year later the son Rolf Gösta Calmeyer was born in New York. When the family moved back to Stockholm in 1928, Bell urged Ralph to furnish the apartment, while she brought the child to visit her parents at Oscarsborg Fortress in Norway. Ralph went to NK and bought the furniture, which has been in the family ever since. According to family lore, it was originally made for Ivar Kreuger, who rejected it for being too ‘delicate’. Not long after the couple's second child was born in 1930, Ralph and Bell got divorced. Bell took the children and moved in with her father at Oscarsborg’s Fortress, Colonel and Commander Ole Mathias Calmeyer. An installment agreement for the furniture was drawn up between Bell and NK. The debt of 1212.35 was to be paid o with SEK 75 per month. Bell then lived for many years on Solheimgata in Oslo. In the late 1960s she bought a house in Benidorm on the Spanish east coast, and she took the furniture there with her. When she returned to Norway ten years later, she left the furniture in Skåne with the eldest son, Rolf Gösta and, who used it as his kitchen furniture ever since. Ralph Lysell (1907–1987) Designer and industrial designer. Ralph was formerly called Rolf Åke Nystedt but began calling himself Ralph during his years in the USA. He later started using his mother's last name, Lysell, and eventually o icially changed his first name to Ralph. Bell Calmeyer Callin (1899–1986) Midwife. Bell's name was Bergljot, a name she disliked very much and she switched to Bell, probably as early as during her time studying in Scotland.
101. Axel Einar Hjorth (Sweden, 1888–1959), a ‘Blidö’ cabinet, Nordiska Kompaniet Sweden, 1928. Brown and grey/green lacquered pine, lower part with three drawers, top with a cabinet with shelf interior, makers mark NORDISKA KOMPANIET R 32962–7 9 28, and also marked with pencil Lager 7/9 28. Height 185 cm, width 108,5 cm, depth 51,5 cm. Provenance: Designer Ralph Lysell and Bell Calmeyer, thence by descent within the family.
102. Axel Einar Hjorth (Sweden, 1888–1959), a pair of armchairs, ‘Blidö’, Nordiska kompaniet, 1929. Pine lacquered in brown, turned and cut details, cord seats, seat height 44 cm, height 110 cm. Provenance: Designer Ralph Lysell and Bell Calmeyer, thence by descent within the family.
103. Axel Einar Hjorth (Sweden, 1888–1959), a set of 4 chairs, ‘Blidö’, Nordiska kompaniet, 1929.
Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350
Pine lacquered in brown, turned and cut details, cord seats, seat height 44 cm, height 100 cm. The seat height of the armchiars 44 cm, height 110 cm. Provenance: Designer Ralph Lysell and Bell Calmeyer, thence by descent within the family. Estimate: SEK 6 000 – 8 000 / EUR 570 – 750
Estimate: SEK 8 000 – 10 000 / EUR 750 – 940
Lot NO 104.
Lot NO 111.
106. Estrid Ericson (Sweden, 1894–1981), or Josef Frank, a set of three wall mirrors, Firma Svenskt Tenn, Sweden, 1950–60s. Frame and holder in brass, height including the holder 32 cm, width 26 cm. Literature: Pictured in an ad, 1950s. Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410
105. Rakel Carlander (Sweden), a carpet, flat weave, ca 245 x 168 cm, signed RC. A light red ground with a grid pattern in a variety of red nuances and di erent polychrome geomtric patterns. A brownish blue melange border. SEK 12 000 – 15 000 / EUR 1 130 – 1 410
104. Josef Frank (Austria, 1885–1967), a model 2215 cabinet, Firma Svenskt Tenn, post 1985. Veneered with curly birch and padouk, makers mark Josef Frank Svenskt Tenn, height 132 cm, width 80 cm, depth 35,5 cm. Estimate: SEK 100 000 – 120 000 / EUR 9 380 – 11 250
107. Josef Frank (Austria, 1885–1967), a ‘Tyresö’ chest of drawers, Firma Svenskt Tenn, Sweden, post 1985. Veneered in burled wood and walnut, 9 drawers with brass details, brass feet, marked Josef Frank Svenskt Tenn, width 130 depth 46, height 81 cm. Estimate: SEK 90 000 – 100 000 / EUR 8 440 – 9 380 108. Märta Måås–Fjetterström (Sweden, 1873–1941), a textile, ‘Knoppen’, flat weave, ca 50 x 34 cm, signed AB MMF. Designed In 1932, woven after 1941. Literature: Compare with ‘Små Vävnader från Märta Måås–Fjetterström’, colour plate 8. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380 109. Elias Svedberg (Sweden, 1913–1987), a pair of easy chairs, Nordiska Kompaniet 1940s. Swedish Modern. Grey wool fabric, base in birch, maker’s mark Nordiska Kompaniet Stockholm Made in Sweden, height 90 cm, seat height ca 38 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880
Lot NO 112.
Lot NO 138.
111. Berndt Friberg (Sweden, 1899–1981), a stoneware vase, Gustavsberg studio, Sweden 1961. Brown ‘rabbit’s fur’ glaze, signed Friberg with the studio mark, c. Height 12 cm. (d) Estimate: SEK 6 000 – 8 000 / EUR 570 – 750 112. Stig Lindberg (Sweden, 1916–1982), a stoneware vase, Gustavsberg studio, Sweden 1960. Drop shaped with relief decor, green glaze, signed Stig L with the studio mark Gustavsberg, height 21,5 cm. (d) Estimate: SEK 8 000 – 10 000 / EUR 750 – 940 110. Wilhelm Kåge (Sweden, 1889–1960), a ‘Farsta’ stoneware dish, Gustavsberg studio, Sweden 1960. Turquoise and green glaze, signed KÅGE i.10 and maker’s mark, 34,5 x 24 cm. (d) Estimate: SEK 4 000 – 5 000 / EUR 380 – 470
113. Wilhelm Kåge (Sweden, 1889–1960), a ‘Farsta’ stoneware dish, Gustavsberg studio, Sweden 1950. Relief decor of a fish, glazed in brown, beige and blue, signed KÅGE FARSTA T. and inpressed studio stamp, 29 x 29 cm, height 4.5 cm. (d) Estimate: SEK 4 000 – 5 000 / EUR 380 – 470
114. Tyra Lundgren (Sweden, 1897–1979), a stoneware sculpture of a bird, 1960–70s. Partly glazed, traces of posible signature underneath, height 12.3 cm including stone base. (d) Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130
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115. Stig Lindberg (Sweden, 1916–1982), a 41 pieces ‘Berså’ service, Gustavsberg, Sweden 1961–74. Bone china and flintware, maker’s marks. 1 large serving dish (31,5 x 22,5 cm) 2 serving dishes (22,5 x 19,5 cm) 1 butter dish (cover is missing) 3 bowls (diameter 15 cm, 17,5 cm and 20 cm, the largest one with teak cover) small bowls (diameter 16,8 cm) egg cups pitcher small serving dishes (13 x 13 cm) creamer 1 sauceboat 1 jam jar (cover is missing) large co ee cups with stands (one stand with glaze crazing, one extra cup comes with the set) 4 large teacups with stands (two cups and one stand with crack) 4 small bone china co ee cups with stands Estimate: SEK 8 000 – 10 000 / EUR 750 – 940
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117. Ulf Trotzig (Sweden, 1925–2013), ‘I skogen’. Signed Trotzig and verso dated –03. Canvas 65 x 58 cm. Provenance: Galleri Olefjord, Simrishamn, acquired by the present owner in 2004. (d) Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820 118. Torsten Renqvist (Sweden, 1924–2007), Ants. Signed T.R and dated –54. Canvas 33 x 41.5 cm. Provenance: Bukowski Auktioner, Stockholm, Moderna, 2 November 2004, Auction 533, cat. no. 187. (d) Estimate: SEK 20 000 – 30 000 / EUR 1 880 – 2 820 116. Mårten Andersson (Sweden, 1934–2017), Untitled. Signed an dated 1960. Watercolour and gouache on paper, 34 x 26.5 cm. (d) Estimate: SEK 16 000 – 18 000 / EUR 1 500 – 1 690
119. Madeleine Pyk (Sweden, 1934 –), ‘Turné Cirkus Olympia’. Signed M. Pyk. Canvas 90 x 120 cm. (d) Estimate: SEK 75 000 – 80 000 / EUR 7 030 – 7 500
Madeleine Pyk moves across a wide register, in addition to painting and working with graphics, she writes and photographs. She has published several books and made films. In her art everything is possible. In the recurring motifs of the family, various animals, cities and self-portraits, the sadness is mixed with the joyfulness, reality with imagination, order with chaos, the easy with wide depth. Anja Notini writes in her book ‘Madeleine Pyk - I play that I live’, (Wiken, 1990, page 13): ‘In the pictures from work environments there are also family, friends, beauty experiences, journeys in space and time; dreams that are realities and realities that she describes as dreams.’
Labeling Madeleine Pyk is di icult, many have tried. Like an exotic bird, she is herself enough. Throughout her long career in art, she has had an exceptional energy and work discipline, which has resulted in a large production with several exhibitions per year. She is loved by the audience as few others and considering how many homes that have a painting by Madeleine Pyk on the wall, there are relatively few that come out for sale in a secondary market. The owners have a personal relationship with these works, with their personal stories, which makes it difficult to separate from them.
The debut exhibition of Madeleine Pyk took place at the legendary Petra at the Lilla Paviljongen in Stockholm in 1956 - the same year that she completed her studies at the Art College. Later studies followed at Konstfack, the Academy of Arts (1963-1967). The exhibition was later on followed by continued studies and exhibitions all over Sweden. She also had solo exhibitions internationally in Amsterdam, Botswana, Hamburg, Nice, Paris and Rome and is represented at the Moderna Museet in Stockholm, Stockholm City collections, Norrköpings Museum, Västerås Museum, Västerås City collections, Umeå Museum and Östersunds Museum.
MADELEINE PYK
120. Bjärnums Slöjdfabrik, a pair of easy chairs, Sweden 1940–50s. Lacquered iron rods, seats in wood decorated with wooden pearls, maker’s mark Bjärnums Slöjdfabrik Patent nr 88452 Patentsökt Nr 8633/45, height 96 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880 121. Bergboms, a Swedish Modern, floor lamp, 1950s. Three tubular steel tubes lacquered in black, brass details, maker’s mark Bergboms G–2(?), height 152 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880 122. A Swedish Modern, desk, 1940s. Asymetrical top, veneered i walnut, profiled legs in walnut, the front with three drawers, height 72 cm, depth 61–84 cm, length 170 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410
123. Carl Westman (Sweden, 1866–1936), probably, a pair of stained birch Art Nouveau easy chairs, Sweden ca 1900. Carved decoration of birch leaves and birch catkins, the seats upholstered. Height 89 cm, seat height ca 46 cm. Estimate: SEK 10 000 – 15 000 / EUR 940 – 1 410
124. Carl Westman (Sweden, 1866–1936), probably, an Art Nouveau stained beech table Sweden ca 1900. Almost square shape, carved decoration of birch catkins. 82 x 85 cm, height 76 cm Estimate: SEK 6 000 – 8 000 / EUR 570 – 750 125. Axel Einar Hjorth (Sweden, 1888–1959), a ‘Lovö’ pine chair, Nordiska Kompaniet, Stockholm, 1930s. Height 95 cm. Seat height ca. 40 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350
126. Bertil Vallien (Sweden, 1938–), a unique sand casted glass sculpture, Kosta Boda, Sweden. ‘Head’. Polychrome decor of a face inside the glass, signed B Vallien KOSTA BODA UNIQUE 8BVAUN 979334, mounted for wall hanging, height 21,5 cm, width ca 12 cm, depth ca 18 cm. Provenance: Galleri Kamras, Borgholm. Literature: Gunnar Lindqvist, ‘Bertil Vallien – Glas eats light’, Carlssons 1999, compare similar ‘Resting heads’ illustrated and mentioned pp 226–229. (d) Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350 127. Orrefors (Sweden), a green glass vase, signed and dated 1940. Green glass with carborundum decor by the base, signed Orrefors 1940. Height 29 cm. Estimate: SEK 4 000 – 5 000 / EUR 380 – 470 128. Vicke Lindstrand (Sweden, 1904–1983), an engraved glass vase, Kosta, Sweden 1950–60s. Irregular shape, decorated with engraved fishermen in boats and fishing nets, engraved signature LG 134 and etched stamp LINDSTRAND KOSTA, height 22.6 cm. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
129. Vicke Lindstrand (Sweden, 1904–1983), a blasted glass vase, Kosta, Sweden, 1950–60s, model 46700. Decorated in blue and green with blasted figures of stylized birds, signed Kosta 46700 LINDSTRAND, höjd ca 23.3 cm.
Estimate: SEK 6 000 – 8 000 / EUR 570 – 750
130. Bertil Vallien (Sweden, 1938–), a unique cast glass sculpture, Kosta Boda, Sweden. Sand cast glass decorated with a head to interior, partly matte surface, signed B. Vallien and mounted to an iron stand with plate 30 x 30 cm, total height 55.5 cm, 18.5 x 10 cm.
Literature: Gunnar Lindqvist (ed), ‘Glass eats light’, Carlssons, Borås 1999, compare another sculpture ‘Area II finding man’, exhibited in Borgholm’s castle 1991. (d) Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820
131. Carl Larsson (Sweden, 1853–1919), ‘En Sommarsaga’. Executed 1884. Watercolour and charcoal on paper glued on panel 70 x 146 cm. Provenance: Professor Carl Wahlund (1846–1913), Uppsala. Kalmar Nation, Uppsala (deposited at Carolina Rediviva since 1986). Exhibitions: Ulwa Neergaard, ‘Carl Larsson: signerat med pensel och penna’, 1999, listed in the catalogue under 1884, p. 25 cat no. 200. Georg Pauli, ‘Konstnärsbrev II’, Stockholm 1928, p.21f. Börjeson, Bertil ‘Från Grèz till ‘Bortom Bullret’. Några antecknin(…) Estimate: SEK 50 000 – 60 000 / EUR 4 690 – 5 630 132. Arthur Percy (Sweden, 1886–1976), Idun. Signed and dated 1916. Canvas, 68 x 48 cm. (d) Estimate: SEK 40 000 – 60 000 / EUR 3 750 – 5 630
This painting, depicting a female figure in a green armchair, is a fine example of how carefully Isaac Grünewald adopted Cézanne's theories of form (particularly considering nature through the cylinder, sphere and cone), colour and light. The figure is constructed from sparingly depicted geometric shapes and Grünewald shows here how masterfully he manages to juxtapose warm and cold tones. The everyday scene is illuminated by a background light source that makes the woman assume an almost saintlike appearance.
133. Isaac Grünewald (Sweden, 1889–1946), The green armchair. Canvas, signed and dated –12. 45 x 37 cm. Estimate: SEK 80 000 – 90 000 / EUR 7 500 – 8 440
Isaac Grünewald is most often referred to as a student of Matisse, but one could also call him a pupil of Cézanne. Whilst studying with Matisse, Grünewald utilised Cézanne's principles to construct a painting, in conjunction with Matisse’s methods. "Just as Cézanne layered colour on top of colour, he (Grünewald) sought form with a richly-faceted viewpoint. With scale upon scale next to scale, he built up his forms and draped them in shimmering colour. He used colour and scale to create contrasts and harmonies and tried to fill every centimeter with light. (J P Hodin, ‘Isaac Grünewald’, Stockholm 1949, pages 45-46).
ISAAC GRÜNEWALD
Isaac Grünewald och Sigrid Hjertén i atéljen i Stadsgården.
135. Åke Lange (Sweden, 1909–1975), ‘Ingrid Bergman’, 1935. Stamped by the Åke Lange Estate and numbered AP 1 verso. C–print, image 42 x 27.5 cm. Including frame 56 x 42.5 cm. (d) Estimate: SEK 8 000 – 10 000 / EUR 750 – 940 136. Leif–Erik Nygårds (Sweden, 1939–), ‘Marilyn Monroe photographed in Los Angeles at Bel Air Hotel, June 27th 1962’. Signed Leif–Erik Nygårds and numbered 10/40 verso. Inkjet print, image 36 x 54 cm. Sheet 42 x 59.5 cm. (d) Estimate: SEK 40 000 – 50 000 / EUR 3 750 – 4 690 137. Max Walter Svanberg (Sweden, 1912–1994), Untitled. Signed Max Walters and dated 80. Photo collage, 50 x 64 cm. Provenance: Bukowskis Modern Autumn Sale 2000, cat. no. 307. (d) Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880 134. Withdrawn
139. David Rosén (Sweden), a set of two chest of drawers, the ‘Futura’–series, Nordiska Kompaniet, 1950s. Mahogany, 6 drawers, brass handles, maker’s metal tag NK R 48888–C 12 3 62, height 102 cm, width 90 cm, depth 44 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820 140. Uno & Östen Kristiansson (Sweden, 1925–2009), a pair of ‘Ufo’, ceiling lamps, Luxus, Vittsjö, 1960–70. Rosewood top, white acrylic glass, one lamp socket, maker’s mark, diameter 55 cm, height ca 20 cm. Estimate: SEK 6 000 – 8 000 / EUR 570 – 750
138. Yngve Ekström (Sweden, 1913–1988), ‘Lamino’, easy chair from Swedese, October 1965. Seat height 40, height 100 cm. Estimate: SEK 8 000 – 10 000 / EUR 750 – 940
The Lamino chair was designed by Yngve Ekström in 1956 and has since then been one of the most acclaimed Swedish easy chairs. It is said that this is the most sold swedish easy chair ever. The design was awarded best Swedish furniture of the 20th Century by the readers of the magazine ‘Sköna Hem’ in 1999. In 2001 a statue of the chair was put on the square in Vaggeryd, the home town of Ese, later Swedese, the manufacturer of the Lamino chair.
141. An 18th century, knotted pile, bed cover from Örke, Skuttunge socken in Uppland, ca 185 x 122 cm. Two parts sewn together. A polychrome lightning pattern in various nuances of brown, ivory, red and blue. Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130 142. A one pice carved armchair, Sweden early 20th century. Carved from one piece of wood, seat height cm. Height 82 cm. Estimate: SEK 8 000 – 10 000 / EUR 750 – 940 143. A bed cover, knotted pile, ca 182,5 x 138 cm, Sweden – Finland, dated 1787. A dark brown melange ground with large polychrome flower vines Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410
144. Barbro Nilsson (Sweden, 1899–1983), a textile, ‘Blå Stjärnan’, Ca 42 x 42 cm, flat weave, signed BN. (d) Estimate: SEK 1 500 – 2 000 / EUR 140 – 190 145. Carl Westman (Sweden, 1866–1936), probably, a pair of stained beech Art Nouveau chairs, Sweden ca 1900. Carved decoration of birch leaves and catkins. Height 96 cm, sitthöjd ca 45 cm. Estimate: SEK 4 000 – 5 000 / EUR 380 – 470 146. Axel Einar Hjorth (Sweden, 1888–1959), a set of 4 stained pine ‘Utö’ chairs, Nordiska Kompaniet, Sweden 1930s. Height 80 cm, seat height ca 43 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 750 – 4 690
When the young artist Hans Bergström decided in the 1930s to focus his artistic practice on creating modern lighting in Sweden, his decision would revolutionise Swedish lamp manufacturing and the attitude towards electric lighting for the decades that followed. Hans Bergström’s trajectory stretches from 1930s Functionalism to the ‘Swedish Modern’ of the 1940s. When plastics were introduced in the 1950s he was one of the first to implement the new material in modern lighting. At the Stockholm Exhibition of 1930 and despite being only 20 years old and not yet having graduated from the industrial design program at the Technical School (what is now Konstfack) in Stockholm, he confidently introduced himself to the metalware manufacturer Ystad–Metall as a designer. Bergström and his wife Verna started the studio Ateljé Lyktan in Helsingborg in 1934. Shortly after the Second World War Bergström began to regularly participate in exhibitions and by the mid-forties, his work had, through the agency of the Swedish Society of Crafts and Design, already reached as widely as the USA and South Africa. Ateljé Lyktan, which Hans and Verna established, later moved to Åhus and became an important craft industry in the area. They employed forty or so seamstresses and metal workers, some of whom had come from Ystad-Metall, where Bergström had previously acquired his knowledge of the craft. At the same time the couple also established a combined design shop and showroom in Kristianstad, where the world could see what they were doing. As the forties came to an end the light from Ateljé Lyktan shone more brightly than ever before. In connection with an exhibition in 1949 at Bonnier’s new department store in New York, Bergström’s light fittings attracted attention for their sophisticated elegance. When in 1952 his creations were exhibited at the Röhsska Museum in Gothenburg, it was, as far as we know, the first time lampshades made from spun plastic were shown publicly. It is through these achievements, the prominent exhibitions, and his pioneering lighting projects that Bergström gradually became a more widely known name outside of Sweden. He was no longer just a designer – he was a lighting architect. The period between the 1940s and up until the latter part of the 1950s confirmed him as one of the best when it came to architectural lighting, and underlined ateljé Lyktan as a Nordic lighting company at the forefront of innovation.
147. Hans Bergström (Sweden, 1910–1996), a pair of ceiling lamps, ‘Struten’ model 181, ateljé Lyktan, Åhus, Sweden, 1950–60s. Lemon yellow plexiglass, one lamp socket in each lamp, height 42 cm.
Estimate: SEK 4 000 – 6 000 / EUR 380 – 570
HANS BERGSTRÖM & ATELJÉ LYKTAN
149. Hans Bergström (Sweden, 1910–1996), a brass and acrylic ceiling light, model ‘C–1131’, ateljé Lyktan, Sweden 1950–60s. Three lights, acrylic shades in red and white, height excluding wire 65 cm. Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130 150. Hans Bergström (Sweden, 1910–1996), a pair of floor lamps, model ‘522’, ateljé Lyktan, Sweden 1940–50s. Feet in brass, stem in teak, white pleated textile shades, maker’s mark Ateljé Lyktan 522, height 163 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350
148. Hans Bergström (Sweden, 1910–1996), a pair of wall lamps, model 338, ateljé Lyktan, Sweden, 1940–50s. Brass and white glass, length ca 27 cm, height 24 cm. Estimate: SEK 4 000 – 6 000 / EUR 380 – 570
Lisa Larson started at Gustavsberg in 1954. The idea was that she would stay for a year with the mission to create ‘best sellers’. It all became 26 years of great sales success and her many charming ceramic figures has become some of the most beloved ones by the people in Sweden aswell as in Japan. She left the factory in 1980 and founded Keramikstudion in 1992 together with her colleagues Franco Nicolosi and Siv Solin. In the harbor of Gustavsberg, the beloved figures are still produced today, in the place where it all began nearly 70 years ago. This auction can present a private collection of early unique and sought after stoneware figures produced in Lisa Larsons’s first years at Gustavsberg studio. Similar figures were, for example, exhibited at ‘Formes Scandinaves’ in Paris 1958-59.
151. Lisa Larson (Sweden, 1931–), a unique stoneware sculpture of a mother and child, Gustavsberg studio, Sweden probably 1950s. A mother with a skipping child, partly glazed in brown and light blue, signed LISA L, height 11.7 cm. Provenance: Bought ca 1960, thence by descent. (d) Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410
153. Lisa Larson (Sweden, 1931–), a unique stoneware sculpture, Gustavsberg studio, Sweden probably 1950s. Ball shaped female figure, partly glazed in green and brown, signed LISA L. Height 12.3 cm. Provenance: Bought ca 1960, thence by descent. (d) Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410
152. Lisa Larson (Sweden, 1931–), a unique stoneware sculpture of a mother and child, Gustavsberg studio, Sweden probably 1950s. Ball shaped figure of a mother and child, partly glazed in blue, green and yellow, signed LISA LARSON with the studio mark and label marked Artiums Exposé. Height 11.3 cm. Provenance: Bought ca 1960, thence by descent. (d) Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410
LISA LARSON
156. Anne Marie Elvis, a carpet, flat weave and tapestry weave, ca 248.5 x 195 cm, signed AME KH. (Anne Marie Elvis, Klockargårdens Hemslöjd in Tällberg), the 1950’s Estimate: SEK 18 000 – 20 000 / EUR 1 690 – 1 880
154. Lisa Larson (Sweden, 1931–), a unique stoneware sculpture, Gustavsberg studio, probably 1950s. Barrel shaped female figure holding a flower, partly glazed in brown and green signed LISA L. Height 21 cm. Provenance: Bought ca 1960, thence by descent. (d) Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880
155. Lisa Larson (Sweden, 1931–), a unique stoneware sculpture, Gustavsberg studio, Sweden probably 1950s. Co ee drinking lady, partly glazed in green, yellow and light brown, signed LISA L, height 13.5 cm. Provenance: Bought ca 1960, thence by descent. (d) Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880
157. Inga–Mi Varneus Rydgren (Sweden), a carpet, flat weave, ca 240 x 158 cm, signed JLH IMV. (Jönköpings Läns Hemslöjd). Around 1960. An ivory melange ground with light polychrome patterns of squares and fields. Made with only one fringe at each end. Estimate: SEK 18 000 – 20 000 / EUR 1 690 – 1 880
159. A carpet, flat weave, ca 255 x 162 cm, signed B (Bohusslöjd). Gothenburg (Sweden), around the 1950’s–1960’s. Estimate: SEK 18 000 – 20 000 / EUR 1 690 – 1 880
158. Anna–Greta Sjöqvist (Sweden), a carpet, flat weave, ca 253 x 197 cm, signed AGS. Geometric patterns in ivory as well as a variety of yellow, brown and grey nuances. Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350
160. Kirstine Packalén (Denmark, 1935–), a carpet, flat weave, ca 271,5 x 163 cm, signed KP. Sweden the 1960’s. Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 750 161. Judith Johansson (Sweden, 1916–1993), a carpet, ‘Björkhult’, flat weave, ca 357 x 248 cm, signed JJ. Designed in 1964. Literature: Compare with JJ Så vävdes ett livsverk – En berättelse om de vävda konstverken från Judith Johanssons ateljé i Knäred, Falkenberg/Varberg 2006, colour plate page 59. (d) Estimate: SEK 30 000 – 40 000 / EUR 2 820 – 3 750 162. A carpet, tapestry weave and flat weave, ca 243 x 169 cm, signed GN. Sweden the 1960’s. Estimate: SEK 20 000 – 25 000 / EUR 1 880 – 2 350
Torbjörn Lenskog. Photo: Åke E:son Lindman.
Ove Pihl OVE PIHL REMEMBERS TORBJÖRN LENSKOG: ‘ONE OF THE LAST GREAT EAGLES HAS LANDED’
TORBJÖRNCOLLECTIONLENSKOG
As a collector of important cultural artifacts, he will forever be celebrated. We were classmates in 1957 at the Beckman School of Design as it is now called. Even then, Torbjörn's talent was evident. We followed each other in parallel careers for several decades.
Classmate Ove Pihl remembers the art director Torbjörn Lenskog who recently passed away.
Torbjörn Lenskog was one of Sweden's most skilled. As a graphic designer, a typographer, an Art Director, and an Advertising Agency creator, all this was when the quality of graphic design and advertising communication was at its peak in Sweden.
Torbjörn Lensgog's world of ideas was unique. He went on to create a large collection of military objects from the First and Second World Wars. But not of the thing that killed, no Torbjörn was looking for everything else. The water bottles. the food can, the first aid kit, the comb, the soap, and everything else that the soldiers had to carry with them. It was a well-received traveling exhibition that began at the Armémuseum in Stockholm.
Torbjörn Lenskog did not elbow himself to the top. He was easygoing, friendly, and full of humor. We all remember Torbjörn's joy of storytelling which often began in reality but which ended roughly like a cock-and-bull-story by Fritjof Nilsson ‘Piraten’. With Torbjörn Lenskog's passing, we lost a unique personality.
“He was easygoing, friendly, and full of humor.”
Torbjörn Lenskog went his own way and became celebrated with numerous awards for his elegant typography and graphic design. In the mid–70s, he successfully started the advertising agency Arbman & Lenskog. Now his great interest in the collection of cultural objects began in earnest. For many years, Torbjörn managed to create one of the largest collections of Linneaus literature, even by international standards. That collection eventually ended up in Japan, and Torbjörn got the resources to keep collecting. Now Torbjörn started collecting everything that the rest of us didn't see. The perfectly designed household items from the 50s and 60s. Kitchen appliances, radios, gramophones, co ee pots, telephones, all that stu that was around us that we didn't see. In the end, Torbjörn had to rent a large warehouse to have room for everything. It became a permanent exhibition in Formens Hus and lots of international press. The next project was a large and significant collection of old, functionally designed, tools like those that might have been thrown in the corner of the forge in the barn or on the workshop floor. They were large exhibitions and a wonderfully beautiful catalogue.
Bruno Mathsson’s villa in Kungsör was commissioned by the o ice furniture manufacturer Helge Prenker, who ran the furniture company Kingsor design. In the beginning of the 1950s Prenker needed a new showroom and residence and went with Bruno Mathsson as his choice of architect. Mathsson, after a series of research trips to the USA, had a few years earlier begun to design and construct buildings inspired by the American ‘Case Study Houses’ that he had seen over there. This was a type of modernist post-war architecture that internationally has been connected to names such as Richard Neutra and Pierre Koening, as well as the Swedish designer and architect Greta Magnusson Grossman. In Sweden Mathsson had to adapt the style with its floor to ceiling glass facades to function in a Nordic climate. The wall sections were equipped with so-called ‘Bruno Panes’ – insulated glass with multiple panes filled with nitrogen. Helge Prenker had his combined villa and showroom constructed according to this system.
The building was given a seventeen–metre long glass section with o ices and a showroom facing Kungsgatan. Concealed behind the public and o ice areas was the residence. It has been said that its shape was inspired by the Swedish fighter-plane ‘Draken’, which was brand new at the time, and from above the house indeed resembles the wing of an aeroplane. The exterior of Villa Prenker consists almost entirely of sections of windows, which was possible due to the use of Bruno Mathsson’s innovative underfloor heating system inside. Villa Prenker was finished in 1953. In the 1990s the house was put on the market. Torbjörn and Ulla Lenskog, great admirers of Mathsson’s architecture, purchased the house and moved from Stockholm to Kungsör. The house became the perfect fit for Torbjörn’s many collections, including of Mathsson designs. The family continued to live in Villa Prenker up until Torbjörn’s recent passing.
VILLA PRENKER – TORBJÖRN LENSKOG COLLECTION Photo: Åke E:son Lindman.
163. Axel Larsson (Sweden, 1898–1975), a pair of armchairs, Svenska Möbelfabrikerna Bodafors, Sweden, 1940s. Mahogany, braided synthetic seat and back, with neck cushion, height 103 cm, seat height 34 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 350 – 2 820 164. Josef Frank (Austria, 1885–1967), a model 2568 floor light, Svenskt Tenn, Sweden. Brass, shade in Josef Frank’s linen fabric, height 145 cm. Estimate: SEK 5 000 – 6 000 / EUR 470 – 570 165. Bruno Mathsson (Sweden, 1907–1988), a ‘T209’ sofa, Firma Karl Mathsson, Värnamo 1967. Upholstered with green textile, beech legs, marker’s mark. Length 187 cm, height 79 cm, seat height ca 36 cm. Estimate: SEK 6 000 – 8 000 / EUR 570 – 750
166. Eskil Sundahl & Erik Lund, a tubular steel chair, KF (Kooperativa Förbundet – The Swedish Cooperative Federation), 1930s. Black leather seat. Height 70 cm, seat height ca 47 cm. Estimate: SEK 4 000 – 5 000 / EUR 380 – 470 167. Nils Strinning (Sweden, 1917–2006), a bookshelf, ‘BFB–Hyllan’(Bonniers Folk Bibliotek), eller ‘Stringhyllan’, String Design, Sweden ca 1949–55. Veneered in oak, white lacquered steel wall brackets, maker’s mark BFB–Hyllan Stockholm Sweden, Strin Designed Även Pat Sökt, height 52 cm, width 41 cm. Estimate: SEK 1 500 – 2 000 / EUR 140 – 190 168. Josef Frank (Austria, 1885–1967), a green lacquered metal and brass wastepaper bin, Svenskt Tenn, Sweden. Height 40 cm, diameter 26 cm. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
Lot NO 168.
171. Josef Frank (Austria, 1885–1967), a model ‘2139’ walnut and burled wood sofa table, Svenskt Tenn, Sweden, before 1985. Diameter 120 cm, height 46,5 cm. Estimate: SEK 30 000 – 35 000 / EUR 2 820 – 3 280
Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130
169. Alvar Aalto (Finland, 1898–1976), a roomdivider, model 100, Artek, mid 20th century. Pine, lacquered in yellow, height 150 cm, length 200 cm.
Estimate: SEK 2 500 – 3 000 / EUR 240 – 290
170. Mogens Koch (Denmark, 1898–1992), a folding chair, CADO, Denmark. Beech, canvas seat and back, armrests in leather, maker’s mark CADO Made in Denmark. Height 88 cm, seat height ca 44 cm.
172. Poul Henningsen (Denmark, 1894–1967), a floor lamp, ‘PH–80’, Louis Poulsen, Denmark, mid 20th century. Patinated copper, later base in patinated copper, diameter of the shade ca 46 cm, total height 156 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410 173. Tore Ahlsén (Sweden, 1906–1991), a floor lamp, ‘Napoleon vid Nilen’, Gärsnäs, Sweden. Base in cast iron, metal arm and textile shade, height ca 200 cm. Estimate: SEK 4 000 – 5 000 / EUR 380 – 470 174. Bruno Mathsson (Sweden, 1907–1988), sideboard, ‘MI–806’, Mathsson International. Burled wood, sliding doors of aluminium, 158 x 46 cm, height 72,5 cm. Estimate: SEK 8 000 – 10 000 / EUR 750 – 940
Lot NO 175.
176. Bruno Mathsson (Sweden, 1907–1988), a co ee table, Mathsson International, mid 20th century. Oak and beech, maker’s mark, 125 x 125 cm, height 52 cm. Estimate: SEK 6 000 – 8 000 / EUR 570 – 750 177. Bruno Mathsson (Sweden, 1907–1988), a reading table, Firma Karl Mathsson, Värnamo, Sweden 1962. Beech wood and nickel plated tubular steel, maker’s mark Firma Karl Mathsson Värnamo 1962, the table 55 x 38 cm, adjustable height ca 75 cm. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380 178. Piero Fornasetti (Italy, 1913–1988), an umbrella stand, Studio Fornasetti Milan, Italy. Printed polychrome decor with umbrellas, maker’s mark underneath, height 57 cm, diameter 26 cm. Estimate: SEK 8 000 – 10 000 / EUR 750 – 940
175. Bruno Mathsson (Sweden, 1907–1988), a ‘model 36’ chair, Firma Karl Mathsson, Sweden 1938. Later girths, maker’s paper label Firma Karl Mathsson BM 36 KM 38. Height 77 cm. Estimate: SEK 6 000 – 8 000 / EUR 570 – 750
179. Eva Löfdahl (Sweden, 1953–), ‘Modell F’. Executed in 1993. Mixed media with smashed bottle, height 23 cm, length 32 cm. (d) Estimate: SEK 6 000 – 8 000 / EUR 570 – 750 180. Jan Håfström (Sweden, 1937–), Untitled. Signed on verso. Mixed media on panel 26 x 17 cm. (d) Estimate: SEK 4 000 – 6 000 / EUR 380 – 570 181. Elis Eriksson (Sweden, 1906–2006), ‘jag är ett ombud.’. Signed on verso. Executed 1988. Assemblage, 25 x 25 cm. (d) Estimate: SEK 8 000 – 10 000 / EUR 750 – 940
182. Jan Svenungsson (Sweden, 1961–), ‘New York’. Signed and dated 1991 on label verso. Object, copper, 16 x 47 cm. (d) Estimate: SEK 3 000 – 4 000 / EUR 290 – 380 183. Jan Svenungsson (Sweden, 1961–), ‘Leningrad’. Signed and dated 1991 on label verso. Object, copper, 16 x 51 cm. (d) Estimate: SEK 3 000 – 4 000 / EUR 290 – 380 184. Alan Uglow (Great Britain, 1941–2011), ‘Equator Series #2’. Acrylic on paper 36 x 35,5 cm. Provenance: Galerie Nordenhake, Stockholm. (d) Estimate: SEK 8 000 – 10 000 / EUR 750 – 940
Photo: Fredric Boukari.
Estimate:
185. George Nelson (USA, 1908–1986), a multi–coloured ‘Ball’ clock, Howard Miller Clock Co Michigan, USA. White lacquered metal, brass arms with polychrome lacquered wooden balls, maker’s mark Howard Miller Clock Co Zeeland Mich 4755, diameter 34 cm. SEK 3 000 – 4 000 / EUR 290 – 380 Charles and Ray Eames (USA, 1907–1978), a ‘DSR’ chair, Herman Miller USA, mid 20th century. Glassfiber reinforced plastic seat, ei eltower metal base, maker’s mark. Height 80 cm, seat height 45 cm. SEK 1 000 – 1 500 / EUR 100 – 140
Estimate:
187. George Nelson (USA, 1908–1986), a table, Herman Miller, USA 1950s. Base in metal, top in laminated wood, height 72 cm, diameter 58 cm. SEK 3 000 – 4 000 / EUR 290 – 380
186.
Estimate:
188. Carl–Axel Acking (Sweden, 1910–2001), a cabinet / sideboard, cabinetmaker G Karlsson for the Stockholm Craft association, 1940–50s. Walnut, 6 doors, 3 adjustable trays, 199,5 x 42, height 135 cm. Pictured in the Craft Association archive. Estimate: SEK 12 000 – 15 000 / EUR 1 130 – 1 410
Literature:
189. Arne Jacobsen (Denmark, 1902–1971), a cognac coloured leather ‘Oxford’ chair, Fritz Hansen Denmark, 1950–60s. Aluminium base. Height 87 cm, seat height 44 cm. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
190. Hans J Wegner (Denmark, 1914–2007), a ceiling lamp with pulley, ‘JH 604’, Louis Poulsen, Denmark, mid 20th century. White lacquered metal shades, steel details, maker’s mark, diameter ca 51 cm. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
191. Melin & Österlin (M&Ö) (Sweden), ‘Tallriken’. Signed and numbered 79/100. Executed in 1966. Plastic relief of a broken plate, 79 x 57 cm. Estimate: SEK 2 500 – 3 000 / EUR 240 – 290 192. Alan E Cober (USA, 1935–1998), Untitled. Signed and dated 26 July 1978. Water colour and indian ink on two papers, 49 x 38 cm each. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380 193. Eva Zettervall (Sweden, 1941–), Portrait in red coat. Signed Eva ZH. Canvas 100 x 78 cm. (d) Estimate: SEK 6 000 – 8 000 / EUR 570 – 750
194. Eva Löfdahl (Sweden, 1953–), Untitled. Signed and numbered 5/20. Etching, 27 x 23 cm, S. 57 x 49,5 cm. (d) Estimate: SEK 2 500 – 3 000 / EUR 240 – 290 195. Jan Håfström (Sweden, 1937–), ‘Station Z II’. Signed Jan Håfström and dated 1986. Mixed media on paper 50 x 40.5 cm. Provenance: Anders Tornberg Gallery. (d) Estimate: SEK 4 000 – 6 000 / EUR 380 – 570 196. Åke E:son Lindman (Sweden, 1953–), ‘Naturalis XXXXI’, 1987. Signed Åke E:son Lindman and dated 1987 on verso. Vintage. Silver Gelatin 45,5 x 36 cm. (d) Estimate: SEK 6 000 – 8 000 / EUR 570 – 750
197. Olle Bærtling (Sweden, 1911–1981) ‘Bærtling, Moderna Museet, Stockholm 7 Nov 1981–6 Jan 1982’. Exhibition poster, 100 x 70 cm. (d) Estimate: SEK 1 500 – 2 000 / EUR 140 – 190 198. Roy Lichtenstein (After) (USA, 1923–1997), ‘Amerikansk Pop–konst, Moderna Museet’. Exhibition poster, printed by Reklamteknik AB, Malmö, 1964. 99 x 69 cm. Estimate: SEK 2 500 – 3 000 / EUR 240 – 290 199. Urban Engström (Sweden, 1955–), ‘Osthyvel’. Signed UE. Zinc, length 26.5 cm. (d) Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
200. Ulf Rollof (Sweden, 1961–), ‘Manual for Bellows No.9’. Electrified swat and book. Signed and dated –92, numbered 1/40. Electric swat length 52 cm. Two more books are included. (d) Estimate: SEK 2 500 – 3 000 / EUR 240 – 290 201. Kjartan Slettemark (Sweden, 1932–2008), Untitled. Object, mixed media with wax, cone, plastic utensils and metal tray. Marked MDMSK 28:4 under. Length 32 cm. (d) Estimate: SEK 2 500 – 3 000 / EUR 240 – 290 202. Joseph Beuys (Germany, 1921–1986) ‘Stripes from the House of Shaman’. Signed in pencil. Exhibition poster, published by Anthony d’O ay Gallery, London 1980. 72 x 50 cm. (d) Estimate: SEK 4 000 – 6 000 / EUR 380 – 570
Photo: Fredric Boukari.
Photo: Fredric Boukari.
Brown leather, chrome plated tubular steel, marked in the textile DUX, height 75 cm, seat height ca 38 cm. Estimate: SEK 8 000 – 10 000 / EUR 750 – 940 205.
1959–),
203. Jasper Morrison (Great Britain, a
204. Bruno Mathsson (Sweden, 1907–1988), an ‘Karin’, 20th century. Martin Jämtlid,
side table, SCP, England. Metal base, circular glass top. Height 67 cm, diameter 34 cm. Estimate: SEK 2 000 – 3 000 / EUR 190 – 290
easy chair,
Dux, Sweden, mid
a lacquered metal wall shelf, Sweden 1993. Lacquered in light green. 100 x 32 cm, depth 17 cm. Provenance: Futurniture, Doktor Glas, Kungsträdgården, Stockholm 1993. Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
208.
Estimate:
Literature:
EUR 240 – 290 207.
Estimate:
206. Marianne Brandt (Germany, 1893–1983), & Hin Bredendieck, an o ice table lamp, Kandem, Germany, model 756, post 1927. Black lacquered metal, adjustable height ca 20–46 cm. Charlotte & Peter Fiell (ed), ‘1000 lights’, Taschen 2005, vol I, pp 250f, see the model ill. p 251. SEK 2 500 – 3 000 / Piero Fornasetti (Italy, 1913–1988), an umbrella stand, Studio Fornasetti Milan, Italy. Printed decor of a roman chariot race, brass details, maker’s mark underneath. Height 57 cm, diameter 26 cm. SEK 10 000 – 12 000 / EUR 940 – 1 130 Arne Jacobsen (Denmark, 1902–1971), a pair of ‘Ant’ chairs, Fritz Hansen, Denmark 1950–60s. Teak plywood, three legs in aluminium, maker’s mark FH, height 77 cm, seat height 44 cm. Estimate: SEK 2 500 – 3 000 / EUR 240 – 290
A. H. Woodfull, mug with lid, Cadbury’s Bournvita, height 10,5 cm. Thermos in bakelit, Bakelit AB Malmö, height 26 cm (the inside lining is Termosmissing).No 65, Thermos England, height 26 cm.
Estimate: SEK 1 000 – 2 000 / EUR 100 – 190
Estimate: SEK 1 000 – 1 500 / EUR 100 – 140
210. Kay Bojesen (Denmark, 1886–1958), a wooden pu in and a monkey, Denmark, mid 20th century. The pu in lacquered in colours, height 18 cm, the monkey made of teak, height ca 19 cm.
211. Automobile memorabilia, 4 pieces comprising 2 cars, 1 bottle and 1 tin sign. Bakelite car, Made in Czechoslovakia. Length 24 cm. Metal car, Envex, Made in Alingsås. Length 20 cm. Shell, enameled sign. 20 x 10 cm. Glass bottle, Esso Lube. Height 35 cm. Estimate: SEK 1 500 – 2 000 / EUR 140 – 190
209. Henning Koppel (Denmark, 1918–1981), A. H. Woodfull, and others, a melamin pitcher, a ‘Sweet Dreams’ mug and two thermos. Henning Koppel, pitcher, Torben Ørskov & Co Danmark, height 16 cm.
212. A glass service comprising a decanter and five selter glasses, Sweden ca 1850. Height decanter 24 cm ( missing the stopper), height glasses ca 8,5 cm Estimate: SEK 1 000 – 1 500 / EUR 100 – 140 213. Charles and Ray Eames (USA, 1907–1978), an ‘S2–1790’, ‘Legsplint’, Evans, USA, 1940s. Plywood, marked ‘S2–1790’ ca 20 x 10, height 105 cm. Estimate: SEK 2 000 – 3 000 / EUR 190 – 290 214. Brio, a toy dachshund, Sweden, early 20th century. Lacquered wood, height 27 cm, total length 55 cm. Estimate: SEK 800 – 1 000 / EUR 80 – 100
215. Ola Öhlin (Sweden, 19667–), Untitled. Signed and dated 2013 on verso. Canvas 60 x 60 cm. (d) Estimate: SEK 5 000 – 7 000 / EUR 470 – 660 216. Ingemar Svensson (Sweden, 1933–), Untitled. Signed under. Sculpture, iron. Height 24 cm. (d) Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130 217. Peter Weiss (Sweden, 1916–1982), ‘Tusen och en natt’. Collage 36 x 20.5 cm. Provenance: Galerie Ann Westin, Stockholm. (d) Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130
218. Erik Olson (Sweden, 1901–1986), ‘Söndageftermiddagska e hos vännen Carl’. Signed Erik O and dated 20 nov 49. Pencil 23 x 18 cm. (d) Estimate: SEK 4 000 – 5 000 / EUR 380 – 470 219. Leander Engström (Sweden, 1886–1927), Pierrot. Signed Leander Engström and numbered 9/30. Lithograph 45 x 56 cm. Estimate: SEK 4 000 – 5 000 / EUR 380 – 470 220. Evert Lundquist (Sweden, 1904–1994), ‘Bordet med glaset’. Drypoint, 1968–70. Signed and numbered 1/50 (actual edition at least 5). 40 x 36 cm. (d) Estimate: SEK 2 500 – 3 000 / EUR 240 – 290
221. Hans J Wegner (Denmark, 1914–2007), a ‘JH–513’ chair, Johannes Hansen, Denmark. Oak and red leather, maker’s mark Johannes Hansen Cabinet Maker Design H. J. Wegner, height 91 cm, seat height 47 cm. SEK 3 000 – 4 000 / EUR 290 – 380 A modernist table lamp, Sweden 1930’s. Base in steel, nickel plated shade, height 32 cm. Estimate: SEK 1 500 – 2 000 / EUR 140 – 190 223. Hugo Elmqvist (Sweden, 1862–1930), an Art Nouveau patinated bronze vase, Stockholm early 1900s. Around the body: ‘Tantus Amor Florem Carl von Linné’ and a portrait in relief. Maker’s seal mark, height 23,5 cm. Estimate: SEK 3 500 – 4 000 / EUR 330 – 380
Estimate:
222.
224. Villeroy & Boch, a 15 pieces creamware part service, Dresden, early 20th century. Comprising 6 cups with saucers, 1 egg cup, 1 oval dish, 1 sugar bowl with cover, 1 side dish, 1 teapot with cover and 3 soup plates. Maker’s marks. Estimate: SEK 2 000 – 2 500 / EUR 190 – 240 225. Bertil Fridhagen (Sweden, 1905–1993), attributed to, an executive desk, Svenska Möbelfabrikerna Bodafors, 1950s. Reportedly only two tables produced. Walnut or elm, one drawer, the top with a writing patch of leather, height 76 cm, length 216 cm, depth 90 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 410 – 1 880 226. Anders Beckman (Sweden, 1907–1967), ‘H–55–Internationell utställning av bostäder, konstindustri, inredningar och formgivning’, 1955. Exhibition poster, published by Hälsingborgs litografiska AB. 100 x 62 cm. (d) Estimate: SEK 2 000 – 3 000 / EUR 190 – 290
227. Evert Lundquist (Sweden, 1904–1994), ‘Mannen i solen’. Drypoint, 1970. Signed and numbered 16/110. 31 x 25 cm. (d) Estimate: SEK 2 500 – 3 000 / EUR 240 – 290 228. Evert Lundquist (Sweden, 1904–1994), ‘Den svarta fågeln’. Drypoint, 1976–77. Signed and numbered 10/20.P. 36 x 25 cm. (d) Estimate: SEK 2 500 – 3 000 / EUR 240 – 290 229. Evert Lundquist (Sweden, 1904–1994), ‘Spaden’. Drypoint, 1957. Signed and numbered 10/50 (actual edition at least 43). 36,5 x 17 cm. (d) Estimate: SEK 1 500 – 2 000 / EUR 140 – 190
230. Sture Johannesson (Sweden, 1935–2018), ‘Andrée will take a trip!’. Exhibition poster, Lunds Konsthall 1969. Printed by Permild & Rosengren Danmark. 85 x 62 cm. (d) Estimate: SEK 3 000 – 4 000 / EUR 290 – 380 231. Exhibition poster, ‘3 års inköp, Moderna Museet’, 1963. O set. Designed by M&Ö, printed by Wahlqvist. 99 x 69 cm. Estimate: SEK 1 000 – 1 500 / EUR 100 – 140 232. Evert Lundquist (Sweden, 1904–1994), ‘ Vid fönstret (Genom porten)’. Drypoint, 1972. Signed and numbered 26/110. P. 40 x 36 cm. Literature: Bjurström 141. (d) Estimate: SEK 2 500 – 3 000 / EUR 240 – 290 233. Swedish artist, around 1820, ‘Nils von Rosenstein’ (1752–1824). Ink and watercolour 23 x 14 cm. Estimate: SEK 4 000 – 6 000 / EUR 380 – 570
Photo: Fredric Boukari.
234. A late Gustavian grey lacquered pine cabinet, Sweden ca 1800. Two drawers, brass fittings, decorated with rhomb shaped reliefs. 119 x 51 cm, height 115 cm. Key enclosed. Estimate: SEK 10 000 – 12 000 / EUR 940 – 1 130
235. A Swedish folk art baptistal basket, Dalarna, late 19th century. Birch–bark decorated with red and blue wool textile. 64 x 45 cm including handle, height 31 cm. Estimate: SEK 2 000 – 3 000 / EUR 190 – 290
236. Tapio Wirkkala (Finland, 1915–1985), a knife (puukko), Hackman, Finland post 1961. Ebony, brass, stainless steel and leather with embossed bear’s paw. Length of the knife 21.7 cm, the leaf marked HACKMAN FINLAND STAINLESS TAPIO WIRKKALA. Estimate: SEK 2 000 – 2 500 / EUR 190 – 240
237. Marianne Brandt (Germany, 1893–1983), Ruppelwerk Gotha Germany, attributed to, a pair of bookends, 1930s. Black lacquered metal, decorated in red, height 14.5 cm. Estimate: SEK 1 000 – 1 500 / EUR 100 – 140 239. Paolo Rizzatto (Italy, 1941–), a table lamp, ‘Costanza’, Luceplan, Italy. White plastic shade, black metal base, maker’s mark, height ca 85 cm. Estimate: SEK 1 500 – 2 000 / EUR 140 – 190 238. A pair of Scandinavian Mid Century Modern teak, oak and elm chairs. The seat with a black fabric. Height 91 cm, seat height 43 cm. Estimate: SEK 5 000 – 6 000 / EUR 470 – 570
240. Adolphe Mouron Cassandre (After) (France, 1901–1968), Dubonnet. Lithographic poster, 1932 (later print 1950s), printed by Axel Andreasen & Sønner, Copenhagen. Two sheets, 170 x 121 cm. (d) Estimate: SEK 10 000 – 15 000 / EUR 940 – 1 410 241. C. Sickler, balancing instrument on a wooden tripod stand, model 428, Carlsruhe, Germany. Wooden stand, brass and patinated steel, stamped C. Sickler 428 Carlsruhe, height ca 151 cm. Estimate: SEK 2 000 – 2 500 / EUR 190 – 240 242. Richard Sapper (Germany, 1932–), a table lamp, ‘Tolomeo’, Artemide, Italy. Aluminium, adjustable height ca 120 cm. Estimate: SEK 1 500 – 2 000 / EUR 140 – 190
243. Two toy robots; Sonai 1985, Taiwan and Super Astronaut Horikawa, Japan 1963. Sonai, i plast, height 33 cm. Super Astronaut Horikawa, metal, height 29 cm. Estimate: SEK 1 000 – 1 500 / EUR 100 – 140 244. Ulf Hanses (Sweden, 1949–), two toy cars and a pen, Playsam. Lacquered wood. Length of the largest car 23 cm. Length of the small car 12 cm. Length of pen 14 cm. (d) Estimate: SEK 1 500 – 2 000 / EUR 140 – 190 245. 5 handles, reportedly by architect Sven Markelius, Sweden 1930s. Nickel plated and patinated metal, handles in parts made of celluloid, height ca 7,5–9 cm. Estimate: SEK 1 000 – 2 000 / EUR 100 – 190 246. Walter Dorwin Teague (USA, 1883–1960), a folding camera in a lacquered case, USA 1930s. Lacquered in brown and red, brown leather. Maker’s mark DOROTHY E BRADLEY, SHUTTERMADE IN USA BY EASTMAN KODAK CO ROCHESTER N Y. Black lacquered wooden box, lid with top in metal and red and black lacquer, 22,5 x 11 cm. Estimate: SEK 2 000 – 2 500 / EUR 190 – 240
Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
249. A bronze portrait medallion of Carl von Linnaeus, Sweden 19thC. The brown patinated relief with a gilt bronze border and black lacquered wooden frame. Diameter of the relief 7,8 cm, the medallion 15 x 14,5 cm.
248. Plaques, 3 oval depicting Carl von Linnaeus, 2 Wedgwood and one in plaster. 1 jasperware with a wooden frame, 17 x 13,5 including the frame, 1 in basaltware, stamped to the reverse WEDGEWOOD LINNAEUS BB402 and scratched Harry Almström d 14/10 1920 ‘Gåfva av Josiah Wedgwood & Sons vid besök af fabriken’, 13 x 10 cm, 1 one in plaster with a gilt wooden frame with an inscription in ink to the reverse, diameter ca 13 cm including the frame.
247. Bruno Gecchelin (Italy, 1939–), a ‘Ring’ table lamp, Arteluce, Italy. Grey lacquered metal, height 40 cm, length ca 62 cm. Estimate: SEK 1 000 – 2 000 / EUR 100 – 190
Estimate: SEK 3 000 – 4 000 / EUR 290 – 380
250. Christian Dell (Germany, 1893–1974), a table lamp, Kaiser Idell, Germany, 1930–40s. Black lacquered metal, maker’s mark Kaiser Idell, adjustable height 39–50.5 cm. Estimate: SEK 2 500 – 3 000 / EUR 240 – 290 251. A grey lacquered metal desk lamp, possibly by Asea, Sweden mid 20th century. Adjustable height 40–100 cm. Estimate: SEK 1 000 – 2 000 / EUR 100 – 190 252. Arne Jacobsen (Denmark, 1902–1971), Arne Jacobsen, a door handle ‘AJ–Grebet’ for SAS Royal Hote Copenhagen 1956, executed by Carl F Petersen. Nickel plated brass, height ca 20 cm. Estimate: SEK 1 000 – 1 500 / EUR 100 – 140
Photo: Fredric Boukari.
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