The Marabou Collection

THE marabou collection

THE MARABOU COLLECTION Evening sale, December 4 at 6 pm, Wahrendorffsgatan 8, Stockholm Please note that the sale also takes place online at www.bukowskis.com Viewing November 28 – December 3, Berzelii Park 1, Stockholm BUKOWSKIS CLASSIC SALE DECEMBER 4 – 7 FOR ENQUIRIES OR ADVICE, PLEASE CONTACT:

Anna-Karin Pusic, Head of Department (0) +46 8 - 614 08 32, anna-karin.pusic@bukowskis.com Pedro Westerdahl, Director Senior Specialist +46 (0) 8 - 614 08 05, pedro.westerdahl@bukowskis.com Lisa Gartz, Specialist Sculpture +46 (0) 8 - 614 08 59, lisa.gartz@bukowskis.com Helene Gerschman, Senior Advisor +46 (0) 70 - 326 32 00, helene.gerschman@bukowskis.com Bukowskis Arsenalsgatan 4, box 1754, 111 87 Stockholm, Sweden Switchboard: +46 (0) 8 - 614 08 00, Fax: +46 (0) 8 - 611 46 74 www.bukowskis.com

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foreword Auguste Rodin, Jean Arp, Aristide Maillol. Artists whose names were mentioned reverentially even when they were still alive. Today, their oeuvres are as fundamental to art history as the master sculptors of ancient Greece. Thus it is an immense honour for Bukowskis to be appointed auctioneers for the exceedingly valuable Marabou Collection. The quality of each individual item is outstanding, and we are fascinated by the Throne-Holst family’s discernment in their acquisition of these brilliant classics.

The Throne-Holst family were unique as collectors in many ways. They were constantly visiting the best galleries in Europe to acquire monumental sculptures. Thanks to them and other knowledgeable collectors with a passion for art, Sweden now has many great art treasures from different times and places, in private as well as corporate collections. It is always a joy when a collection such as this comes to light. This is a spectacular moment in Swedish auction history.

I would like to take the opportunity to pay my greatest respects to the deep foundation of knowledge on which Bukowskis rests. It was no coincidence that Henryk Bukowski, an exiled Pole, was given the prestigious assignment in 1873 of cataloguing and auctioning King Charles XV:s collections only three years after he had started his auction house. It was due to his dedication, care and expertise. That combination has proven to be unbeatable, and many other outstanding collections have been sold successfully by Bukowskis over the years: the collection belonging to dowager queen Josephine, the large collections of EA Bohman, Christian Hammer, Carl Robert Lamm, and Oscar Björk’s collection of Chinese art and artefacts. The most prestigious collections entrusted to Bukowskis in recent years include the estate of the great director Ingmar Bergman.

With this separate catalogue, written by a few of Bukowskis’, and thus Scandinavia’s, foremost experts, we wish to specially highlight a historic auction of 13 phenomenal sculptures that were once chosen by the Throne-Holst family.

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The Throne-Holst Family Industrialists and Patrons of Culture

Three generations Throne-Holst, 1929.

The Throne-Holst family has over several generations played a significant role in Swedish industry. What the general public may be less familiar with is that over many years the family also built up, consistently and with a critical eye for quality, an impressive sculpture collection, part of which is today publicly accessible.

The family’s greatest contribution to Swedish industry was made by Henning Throne-Holst. Born in Strinden, Norway, on 25 July 1895, Henning was the son of manufacturer Johan Throne Holst and his wife, Hanna Richter Jenssen. In his time, the father, Johan, played an important role in Norway both as a politician and a member of Storting, the Norwegian Parliament, 1909–12. His main occupation, however, was that of a manufacturer. In 1892 Johan had bought the Freia chocolate factory in Oslo which had been set up only a few years earlier.

Johan Throne Holst developed Freia into a leading company in its field. Freia was regarded as a model workplace, it had a modern canteen (Freia Hall) and a private park for employees (Freia Park). Johan’s progressive views on employee welfare

and the importance of culture in the workplace would later be carried on by his son, Henning, who would refine them further. Freia was the first company in Norway to have its own physician and the first to institute a 48-hour work week.

Marabou was founded in Sundbyberg in 1916 as a Swedish subsidiary of the Norwegian Freia chocolate company. Due to World War I and various minor problems with the start-up, chocolate production did not begin until 1919. Johan Throne Holst’s son, Henning Throne-Holst, who was just 23 at the time, had been appointed director of the Swedish factory the year before, in 1918. From the start. Henning Throne-Holst developed the Marabou chocolate factory with a view to making it the biggest in Sweden. Adopting also in other areas positions that in retrospect seem quite progressive, Henning came to play a major role in the development of Scandinavian industry. Taking the cue from his father, he dedicated a considerable part of his active life to developing the relationship of the business sector to art and culture as well as research.

Henning grew up in Kristiania (today’s 6

Oslo), where he passed the matriculation examination in 1913. The year after, he began studies at the School of Economics in Berlin, where he was greatly influenced

by Werner Sombart’s analyses of the influence of modernity and modernism on politics and the economy. The studies were interrupted by World War I, however, and Henning returned to Kristiania, working for a short while as an employee at Freia.

After taking a voluntary cavalry officer training course in 1916, Henning became first a reservist and then a conscripted officer in 1917. This was followed by a 10month sojourn in Middletown, New York, where Throne-Holst worked in a chocolate factory and towards the end rose to the position of night shift supervisor.

After returning home in 1918, he enrolled into the university in Kristiania, only to interrupt his studies once again, this time for good. Freia had run into trouble in the setting up of AB Marabou in Sweden.

Henning Throne-Holst, 23, was sent to Sundbyberg outside of Stockholm with a time-limited mandate to fix the problem.

This proved to be a crucial step in his life as an industrialist and company owner in

The Marabou factory, Sundbyberg, Sweden, ca 1918.

Sweden – Throne-Holst worked as the CEO or Board Chairman of Marabou until 1976.

Marabou had been established in 1916 and the new factory was completed in 1918, but production had not yet started when the young ‘observer’ arrived from Norway.

Henning grabbed the reins briskly to set the problem straight. Initially the company met with considerable scepticism and even opposition from established chocolate producers in Sweden. Under Henning Throne-Holst’s management, Marabou nevertheless underwent a remarkable transformation that made the factory the leader in its field. Throne-Holst’s social engagements and cultural interests grew hand in hand with the expansion of the company. As early as the mid-1930s, Marabou was already an exemplary company with its own sculpture park and an employee canteen, unique in the Swedish context, that manifested lucidly the ideas permeating the Social Democratic concept of folkhemmet (‘The people’s home’) under construction in Sweden at this time.

The Aladdin box of chocolates was launched in 1939. At the time, Marabou

manufactured about 250 different kinds of pralines that were packaged in various boxes. The Aladdin box contained the most popular pralines, and the legend on the lid explained clearly what each one contained. This allowed handling to be rationalised and the price to be reduced.

The success was inevitable.

In 1941, Marabou acquired a small tinned goods factory in Bjuv. During World War II, Marabou ran into problems, partly with the import of raw materials, partly with the acquisition of a licence for sugar, which was rationed at the time. To solve the problem, the company searched everywhere for a suitable foodstuff company that used domestic raw materials and had the necessary licences. Finally they found in Bjuv a small company, which was renamed Findus.

The great breakthrough of Findus came right after the war. In 1945, the company ran a test selling deep-frozen fruit and berries in two stores in Stockholm. Next year, deep-frozen products were launched throughout the country. The freezing technique had been developed in the USA in the 1930s, and experts from Findus 7

travelled there to learn. Findus was the pioneer in deep-frozen goods in Europe, and for 5–10 years it was practically the only one on the Swedish market.

In addition to the Marabou Group, Henning Throne-Holst, who was naturalised as a Swedish citizen in 1934, held subsequently several important positions in Swedish industry. He served as Managing Director of Scania-Vabis 1951–53, and thereafter as CEO at SAS 1955–57.

Through his prominent work within Swedish industry and culture, Henning Throne-Holst was elected honorary member of both the Royal Academy of Engineering Sciences and the Royal Academy of the Fine Arts. He was also active in the Royal Academy of Letters and the National Public Art Council. For his extensive contribution to Scandinavian business and cultural life, Henning ThroneHolst was appointed Commander of the Royal Order of Vasa and Knight 1st Class of the Royal Norwegian Order of St. Olav.

the marabou art collection A significant Contribution to Culture

The Marabou factory, Upplands-Väsby, Sweden, mid 1970’s.

The idea that high quality art could have a positive impact on the general atmosphere in the workplace was an accepted truth in the Throne-Holst family. Already Henning’s father, the industrialist Johan Throne Holst, had shown foresight in this regard. In 1922 he commissioned no less than twelve large paintings by Edvard Munch to decorate employee canteens in the Freia factory. In his memoirs Mitt livs företag (‘My Life’s Enterprise’), Henning Throne-Holst wrote in 1973: “A few years earlier, Freia had built a park next to the factory, primarily with the idea that it might be used by the staff during breaks and for evening walks. It was here that the Freia Hall was built, a staff canteen of some 500 square meters, as well as spaces for kitchens, dressing rooms, etc. The canteen was designed also with Munch’s paintings in mind, providing them thus with an excellent location. Along one long wall there were a number of large windows facing the park. A fountain by Gustav Vigeland, Girl of the Bear, was purchased for the park soon after. The entire facility made a very strong impression on me, and my first thought when I saw it was an almost sensual ‘So ein Ding müssen wir haben auch’ [We must also have such a thing].”

The Marabou art collection project was launched cautiously in 1924. In connection

with the construction of a new office building, it was decided “in an optimistic moment [to allot] 10 000 kroner to landscaping the terrain around the office.”

Henning Throne-Holst writes in his memoirs from 1973: “Within this cost framework, we could in 1924 allocate 2000 kroner for the purchase of Marabou’s first sculpture, a work by Anders Jönsson. That was the beginning of what was to become the Marabou Park.”

The office building was demolished in 1965, but was succeeded by all sorts of new office buildings and factories as Marabou expanded. In parallel with the construction of new buildings, the ThroneHolst family also increased its portfolio of paintings and sculptures. The garden made in 1924 next to the office building in Sundbyberg became a popular place for employees to spend their breaks, and was a decisive factor when the decision to estab-lish the Marabou Park was taken a few years later.

The 1976 book Marabou – en arbetsplats i växt och förvandling (‘Marabou, A Workplace, Growth and Transformation’) de-scribes how Henning Throne-Holst, inspired by his father’s development of Freia in Oslo, gradually built Marabou into a workplace decorated with art: “Success continued. As early as the mid-1930s, it 8

was decided to replace the temporary canteen and dressing room facility with a more permanent structure. Some 10-12 years earlier, Freia had acquired its canteen with Edvard Munch’s magnificent paintings and the beautiful park outside. It was a powerful incentive to achieve something similar in Sundbyberg. The new building had a Marabou Hall with splendid frescoes

by Hilding Linnqvist and a cast of the Elgin Marbles, purchased from the British Museum. Outside one long wall was the developing park, where Eric Grate’s imaginative The Fountain of Transformation was later erected next to the weeping ash – ornamental tree at the Sundbyberg farm for many decades. The windowed walls of the canteen opened onto a wide view over the park, with the many new sculptures placed there later.”

One more new building was constructed in 1943. The Sundbyberg farm next to the Marabou factory was purchased at the same time, and the rest of the farm’s lands were incorporated into the Marabou Park, which thereby acquired its present size and shape. The park was created with a wish – one that has come true entirely – that it would primarily be a place of rest for employees during breaks and in summer evenings.

Marabou’s enormous success prompted

Interior of the Marabou office, mid 1970’s.

plans in the mid-1960s to construct more production facilities. In 1968, the company bought land in the municipality of Upplands Väsby, and work on a new stateof-the-art factory was begun. The new Marabou factory was opened in the mid1970s and represented the culmination of the company’s successive expansion. The construction of the factory is described in detail in Marabou, A Workplace, Growth and Transformation. From the book we also learn the following: “Interest in the work environment has always been keen at Marabou. When the first major building was completed in 1930, it was in everybody’s mind that here we had indeed created a modern facility in the best sense of the word, with great potential for establishing rationally organised production and a desirable work environment at the same time. The later growth of the factory complex further underscores Marabou’s interest in this matter. This is particularly true of the personnel building with its canteen and the park, as well as the many artworks that have been placed around the facility to make the workplaces appealing.”

The book contains a number of photographs from the interior of the plant where you can clearly see a number of the sculptures featured in the auction, both inside the plant and outside, in the newly

constructed park. The Marabou factory in Upplands Väsby stands as a monument to the Throne-Holst family’s social and cultural engagement, in which assets from the successful company were used to bring art to the people, employees and visitors alike.

The underlying philosophy is explained in the preface to Art at Marabou: “Good art can convey to us all impressions and influence our minds, it appears liberating and stimulating, creating more space around us and giving a wider perspective on our environment and our own lives. If you believe in the stimulating effects of art, it follows that art should be accessible not only in homes and museums, but also in the place where we spend most of our active lives. If you believe in the life-giving ability of art, then art should be given an opportunity to contribute to the creation of a milieu that facilitates human interaction, and gives the individual a sense of increased personal engagement in current affairs. The Marabou art collection was created on the basis of this belief in the importance of art. It was created in the hope that it would be per-ceived as a shared resource of all who work here and thus to make a positive contribution to daily intercourse and daily collaboration.”

When Henning Throne-Holst’s son Johan succeeded as the managing director of the 9

company, Johan continued to actively involve himself in the family’s policy of buying internationally acclaimed art for the Marabou collection. Among other things, he purchased an impressive piece of sculpture directly from the artist Arnalodo Pomodoro. The family did not relinquish control of Marabou until 1993, when the company was sold to Kraft Foods. The original Marabou Park in Sundbyberg was bought in 2006 by the City of Sundbyberg.

In 2010, a new art gallery was opened next to the park, Marabou Park Art Gallery, located in Arthur von Schmalensee former cocoa laboratory. At the gallery’s website we can read: “The purpose of the redevelopment is to raise the park to its full potential as a nationwide attraction. The gallery is run by a foundation that has been active in Sundbyberg since 2005, and which aims to present a selection of the most interesting contemporary Swedish and international artists for local as well as international audiences.” It is clear that the gallery’s operations connect to the ThroneHolst family’s impressive work, and will thus carry on the legacy of Marabou into the future.

The sculptures from Marabou to be sold in the auction have in recent years been on deposit in the factory and the surrounding park in Upplands Väsby.

francois pompon “Hibou”

François Pompon made his break-through as an artist late in life. At the age of 67, in 1922, he created a monumental sculpture in white marble, “L’Ours Blanc”, of a stylised white bear in motion. It was first exhibited at the Salon d’Automne, where it won great admiration, and is now in the Musée d’Orsay in Paris. His distinctive, pure and minimalist style was an overnight success, and a productive period ensued. His aesthetic ideals, with stylised, simplified forms, felt modern at the time and are just as timeless today, but even his previous works became sought after by collectors.

The Salon d’Automne was launched in the early 1900s by Matisse, Roualt and other artists, as a reaction against the Paris Salon, which, to them, represented an antiquated attitude to art. Here, new artists soon established themselves, including Renoir and Rodin, and they were eventually joined by Cezánne, Gauguin, Picasso and others. After the First World War, the Salon d’Automne also began exhibiting crafts, and continues to do so to this day.

François Pompon began his artistic career in his father’s headstone workshop at the age of 15. He worked there for many years, learning the basic stonemasonry skills, before he began to express his

dreams of making his own art and sculptures. Meanwhile, he attended evening classes at École des Beaux-Arts in Dijon, where he was born. At first, he studied architecture and print-making, but eventually he moved on to study sculpture, under François Dameron. This was how he began to develop his three-dimensional oeuvre, with the animal kingdom as his main source of inspiration.

At the age of 21, Pompon moved to Paris, where he enrolled at the École Nationale des Arts Decoratifs. At this time, he was deeply fascinated by art from the Far East, and his style was influenced by Japonism, which was in fashion. He also admired the Egyptian art at the Louvre.

Occasionally, he produced architectural ornaments, for instance, for the construction of Hotel de Ville in Paris, but in private he preferred working on human figures and made countless busts. In 1879, he exhibited one of his own works for the first time. This was an interpretation of the author Victor Hugo’s Cosette (from Les Misérables).

In Paris, he became sought after as an assistant in sculpture studios, and in 1890 he began working in Auguste Rodin’s studio where he remained for nearly 15 10

years. The master appreciated him highly and taught him about the inherent power of the materials, how to select the perfect marble block for monumental works, and how to cast sculptures in bronze and choose the right patina. Eventually, however, he grew tired of sculpting human figures and of Expressionism. He wanted to create representations of animals, in his own simplified style. His studies of nature and animals at rest and in motion had begun when he was young, and he pursued this interest throughout life, in the countryside in the summer, and in the city on frequent visits to the botanical garden Jardin des Plantes in Paris. His fascination for the more exotic fauna encouraged him to create a wider range of animals.

His timeless sculptures in a veritably archaic style seem to have an inherent energy that is as enthralling today as when they were new, and imbues their soft shapes with monumentality and animation.

Beginning with a clay sketch, he simplified and developed his volumes to uncover the essential quality: “I keep a large number of details that will later go,” Pompon said. “I first do the animal with almost all its trappings. Then I gradually eliminate them...”

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278. FRANCOIS POMPON France 1855-1933 “HIBOU” Signed Pompon. Conceived 1927-1930. The ANDRO Foundry cast this bronze in this size in a sand cast from 1930. Foundry mark ANDRO. Fondeur Paris. Bronze, dark brown patina. Heigth 28 cm (11 in.).

PROVENANCE Svensk-Franska Konstgalleriet, Stockholm, Sweden.

Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (acquired from the above in 1938).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

EXHIBITIONS Compare another bronze by Pompon in the catalogue of Svensk-Franska Konstgalleriet, Stockholm, Sweden, ”Francois Pompon och Auguste Renoir”, 1938, illustrated in the catalogue.

LITERATURE Nils Lindhagen och Alf Rolfsen, ”Konst hos Freia och Marabou”, 1955, mentioned and illustrated full page.

Ragnar von Holten, ”Art at Marabou”, 1990, mentioned and illustrated p. 38.

Catherine Chevillot, ”Francois Pompon 1855-1933”, 1994, compare version in marble, illustrated p. 188, no 36 (under the title ”Grand Duc”).

Estimate: SEK 100 000 – 125 000 / EUR 1 1 650 – 14 550

FOR FURTHER INFORMATION OR TO PLACE A BID

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henri laurens “La Banderole”

Henri Laurens was born in Paris in 1885 and began sculpting at the early age of 13. He worked in a construction and decorating firm, where he acquired a knowledge of materials and made sculptural ornaments when he was young. In the evenings, he took drawing classes and learned to translate three-dimensional form into skilful charcoal drawings on paper. He became famous for his sculptures based on human bodies, especially women. In 1902, he moved to Montmartre, the artist quarters in Paris, where the new century brought the winds of change and innovation to art.

He met Marthe Duverger in 1905. They married, and Marthe became his first model, whom he sculpted according to the Greco-Roman ideals. At this time, he was influenced by Auguste Rodin, but when he met Georges Braque in 1911, however, his

style changed. They became close friends, and Laurens let himself be influenced by Braque’s Cubist experiments. Laurens developed his own strongly Cubist imagery that he expressed in paper collages and wood-and-metal sculptures in the 1910s.

One of Laurens’ earliest and most intriguing works from this period, a composition reduced to lines and angles, is now in the Moderna Museet collection in Stockholm (Clown, 1915).

Picasso admired Laurens’ Cubism and introduced him to Léonce Rosenberg, who presented his first solo exhibition in Paris in 1918. Rosenberg acquired several works and became a long-standing patron of Laurens. His first exhibition, which was well-received by the critics, was followed by many others in the 1920s, mainly at the now-legendary Galerie Simon, which was 14

reopened after the First World War by Daniel-Henry Kahnweiler on his return from exile in Switzerland. Many of the sculptures he exhibited at this time were inspired by Jacques Lipchitz and African sculpture, although in a Cubistically geometric style.

Laurens also managed to introduce nature and developed an organic, curvaceous and abstractly rhythmic style, expressed predominantly in nude, lyrical and powerful female figures. Laurens made these representations of standing, reclining and seat-ed women in bronze, terracotta clay and stone. His style mellowed with age, and the shapes became denser. In the early 1930s, he combined the Cubist idiom with more organic design and allowed sensuality to triumph over all theories and stylistic ideals, as expressed in his famous stone sculpture “Crouching Figure”

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Henri Laurens in his atelier, 1950s.

(Seated Woman) from 1930 (Centre Pompidou, Paris). Laurens gradually modified his Cubism towards a personal formal idiom that was characterised by more mature, full and rhythmically rendered volumes, based on oceanic and mythological subject matter. The sea was a vital source of inspiration for Laurens, possibly because he was 47 before seeing it!

Through his art, he explored imaginary oceans and the movements of its creatures.

The bronze “La Banderole”, made in 1931, is one of the finest examples of his unique style from this period. He was at the height of his artistic career at this time, and there was a great demand for his works among initiated collectors and art institutions. The Throne-Holst family, who were familiar with the works of the French sculptor, purchased the monumental “Les

Ondines” for the Marabou Park in Sundbyberg already in 1951. “Les Ondines” which was cast in lead in 1934, is a representation of the ocean personified by mythological female figures lying side by side on the crests of softly rounded waves.

“La Banderole” was purchased in 1965 through Svensk-Franska Konstgalleriet in Stockholm, which had excellent connections with the Parisian Galerie Louise Leiris, where ”Les Ondines” had been acquired. In ”La Banderole” Laurens embodies the essence of woman, and his striving to achieve compact volumes is immortalised in durable bronze. Although the style is distinctly Cubist, the sculpture nevertheless has an organic and sensual appeal. Six bronze casts were made of “La Banderole”, and can be found in the Museum Frieder Burda, Baden-Baden (Ulla and Heiner Pietzsch 16

collection, Berlin) and in the Musée des Beaux-Arts in Lyon, France.

The first time the Swedish public had the opportunity to see Laurens’ work was in a seminal group exhibition featuring Georges Braque, Henri Matisse, Pablo Picasso and Henri Laurens, which toured to Oslo, Copenhagen and Stockholm in 1938.

Galleri Samlaren, under the capable auspices of Agnes Widlund, and Svensk-Franska Konstgalleriet, which was ruled by Gösta Ohlson, also organised several exhibitions with Laurens, on his own or together with the artists listed above. Alberto Giacometti, who often expressed himself scathingly about art critics and art essayists, rarely wrote about art, but nevertheless praised Laurens for his greatness and how his sculptures served as three-dimensional shadows of the artist’s breath, mind and touch.

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279. HENRI LAURENS France 1885-1954 “LA BANDEROLE” (d) Signed HL and numbered 3/6. Conceived in 1931. Foundry mark Cire Perdue C Valsuani. Bronze, brown patina. Height 36,5 (14 3/8 in.), length 33 x 26 cm (13 x 10 1/4 in.).

PROVENANCE Galerie Louise Leiris, Paris. (Ph. no 7794).

Svensk-Franska Konstgalleriet, Stockholm, Sweden, 1965.

Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (acquired from the above).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

LITERATURE Werner Hofmann, ”Henri Laurens”, 1970, another cast illustrated full page, p. 131 and catalogued under the title ”Das Band”, page 218.

Ragnar von Holten, ”Art at Marabou”, 1990, illustrated and mentioned p. 28.

OTHER Receipt from Svensk-Franska Konstgalleriet, Stockholm enclosed.

Estimate: SEK 1 500 000 – 2 000 000 / EUR 174 250 – 232 300

FOR FURTHER INFORMATION OR TO PLACE A BID

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giacomo manzÙ “Busto di Emy”

One might say that the life of Giacomo Manzoni was a real Cinderella story. He was born in Bergamo in northern Italy in 1908 as one of the 12 children in a poor family.

His father was a shoemaker and also the sacristan of a convent.

The family was so poor that Giacomo was taken out of school at the age of 11 and sent to work to help support the family.

Due to a set of fortunate circumstances, Giacomo was apprenticed to Master Dossena, a carver and gilder in Bergamo. It soon turned out that young Giacomo had exceptional talent for sculpting and plastic forms. Dossena encouraged him to begin drawing and modelling, and Giacomo created his first works, mostly animal motifs.

At only 13 years of age, he got to study in Fantoni’s school of decorative art in Bergamo, and at 15 he bought a book on the French sculptor Aristide Maillol, which made a great impression on him.

The tough start in life helps explain the absolute clarity of purpose and uncompromising attitude Manzù had towards art – and art towards Manzù.

After completing his military service, Manzù abandoned all schools and studies and dedicated himself totally to his artistic calling. Ahead of him lay a long and successful career as one of Italy’s most prominent internationally acclaimed sculptors.

In 1929 Manzù travelled to Paris where he found himself for a time in the very

heart of avantgarde art. While taking an interest in the contemporary idiom, he was also very much influenced by the triumphs of late 19th century art, in which he was particularly moved by the impressionist approach.

He soon returned to Italy, settling in Milan in 1930. At the time, Milan was the Paris of Italy. He took the pseudonym of Manzù so as not to be confused with the great Italian writer Alessandro Manzoni.

In Milan, Manzù met such artists as Fausto Melotti and Lucio Fontana, and became quite close with the great futurist Carlo Carrá. He was even a member of the circle of radical Christian intellectuals around the Il Frontespizio journal, a group seeking religious association free from the dogma of state religion.

Manzù got his first important commissions in Milan, such as bronze doors for the chapel of the Catholic University. Bronze reliefs on religious motifs would later often appear in his artistic work. Manzù’s relationship to religion and to representatives of the Catholic Church coloured much of his work. In his early reliefs and bronze sculptures, he experimented with the primitivist style, popular at the time. As early as the mid-1930s, however, he discovered his own style, a soft plastic sculptural idiom inspired by Rodin and the Italian sculptor Medardo Rosso.

In the 1930s and ’40s, Manzù, at the 20

time in his twenties, worked with several artistic projects of his own, but also participated in major exhibitions in Rome and Milan.

In addition to his own creative work, he was also a teacher in academies in Turin and Milan. In the Accademia delle belle Arti di Brera, the foremost seat of artistic learning in Milan, his colleagues included such names as Marino Marini and Carlo Carrá.

This was a time when the liberal arts fought for survival under fascist censorship and dictatorial regime. Manzù, who was openly anti-fascist, was dismissed from his professorship in Turin, and he resigned from his position in Milan. Without ever becoming a political artist, Manzù nevertheless used religious themes to express his ideology and his disgust of the brutality of war.

In the late 1930s, Manzù began making bronze cardinals. His inspiration in this was a visit to the St Peter’s Basilica in Rome where he saw the Pope flanked by two cardinals. Manzù’s cardinals are stylised figures with an almost geometrical pyramidal form. Although they have become almost a trademark of Manzù’s, they actually represent a very different idiom from his other artistic output.

During this time, Manzù also began making female busts in bronze. In his hands, the hard material acquires the smoothness of silk. His ability to make the surface shimmer as it catches the light

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Giacomo Manzù, 1950.

gives a poetic and sensual mood to these female figures.

These female figures made Manzù even more successful, and at the early age of 29 he had his first major one-man exhibition at Galleria della Cometa in Rome – the catalogue essay was written by Carlo Carrá.

The newly opened gallery soon became the hottest art salon in Rome, the place where artists such as De Chirico, Pirandello, Severini and Montale exhibited their work.

Manzù was now in the very heart of the Italian intelligentsia. He had countless successes in this period, exhibiting not only in Italy but also in New York and Paris.

It ought to be mentioned that in 1938 he was given a gallery of his own at the Venice Biennale, and again in 1956.

In the last, difficult years of the war, Manzù was forced to leave his work and flee to Bergamo. During this time he produced a series of drawings, which subsequently led to commissions as an illustrator and even as a set designer.

His greatest religious work was created in 1961, when he was appointed to create doors for the St Peter’s Basilica in Rome.

Manzù was a close friend of the then Pope John XXIII, who is also known as the “Good Pope”. Both came from Bergamo, and shared the same background of poverty in childhood and adolescence. The theme for the doors was man’s encounter with death, but instead of depicting Catholic martyrs

as heroes, Manzù chose to portray the poor, the disadvantaged and the forgotten.

In contrast to the heavy baroque style of the church’s interior, the bronze reliefs are alive with the spirituality of early Italian renaissance. Manzù was accused of radicalism and his detractors called his a communist, but he answered: “Io vivo per la pace e ho un odio feroce per la guerra. Il tempo mi dà sempre più ragione” “I live for peace and have a violent hatred of war. Time will prove me right.”

The prestigious commission brought Manzù a number of requests to do reliefs for churches around Europe, including the St Lawrence Church in Rotterdam.

Around the mid-1960s, Manzù moved with his family to Aprilia outside Rome.

In the nearby Ardea, where he had his foundry, he founded a museum, “La raccolta amici di Manzù”, to which he donated over 400 of his works, including sculptures, drawings and prints. In the early 1980s the museum was donated by Manzù to the Italian state.

Manzù died on 17 January 1991 in his home in Aprilia.

The bust of Emy was made by Manzù in 1973. In this stage of his career, Manzù created a series of pictures of women characterised by a sensual, sometimes even erotic idiom. He had recently met the love of his life, the German dancer Inge Schabel, when he was working in Salzburg, and she 22

appears in countless studies and portraits.

Manzù depicted women throughout his entire artistic career: portraits of loving, laughing and playing women. These busts were initially rather severe and introverted, but in the 1960s and ‘70s they soften and acquire a lovely grace. The compositions become at times almost acrobatically complex.

Emy is wearing a thin unbuttoned jacket that reveals here youthful bosom. The work shows an innocent young girl who seems unaware of her own erotic attractiveness.

The youthful naivete is underlined by the childish bow in her hair.

The gilded bronze has in Manzù’s hands acquired a soft, almost shimmering plasticity.

Manzù has managed to create an intimate portrait of a woman in spite of the charged tradition of the bust as a format. He establishes a contact with the viewer by letting Emy’s hands open the jacket softly, giving the portrait a sense of being an impression – a moment that will soon be over.

The two main thematic interests in Manzù’s life as an artist were religious subjects, which in his hands acquired a humble and human form, and female figures that reflected his love of and fascination with women. For 72 of the 83 years of his life, Manzù worked with art, and was able in his work to make use of his personal life experiences in a way that make him one of the most esteemed artists in Italy in the modern age.

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280. GIACOMO MANZÙ Italy 1908-1991 “BUSTO DI EMY” (d) Signed Manzù and inscribed Ardea. Cast in 1973. Bronze, gold patina. Height 82 cm (32 1/4 in.), total height including stone base 182 cm (71 5/8 in.).

PROVENANCE Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (acquired directly from the artist in 1976).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

LITERATURE Henning Throne-Holst, ”Ur Marabous byggnadshistoria”, 1977, illustrated and described p. 65.

Ragnar von Holten, ”Art at Marabou”, 1990, illustrated and mentioned p. 34.

OTHER Compare Sotheby´s, New York, May 14th 1998, no 344 ”Busto della Giapponese”.

Copy of receipt enclosed.

Estimate: SEK 800 000 – 1 000 000 / EUR 92 950 – 116 150

FOR FURTHER INFORMATION OR TO PLACE A BID

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25

aristide maillol “Jeune fille agenouillée”

“I seek to express the impalpable” With exalted tranquillity, Maillol’s genuflecting girl greets us. Her body is resting peacefully, in perfect, silent, harmonious equilibrium. She does not give the impression of wanting to tell us anything; on the contrary, she is in her own closed, timeless universe.

Aristide Maillol began sculpting fairly late in life, when he was already in his forties. By that time, he had been battling with his art for two decades, under great adversity and poverty. As a young man, he had to apply repeatedly before being accepted by the École des Beaux-Arts. His passion was painting, but he enjoyed no success in the field. In the 1890s, he became friends with Paul Gauguin, who had a seminal influence on Maillol’s artistic career.

With encouragement from Gauguin, he began making tapestries that won him great acclaim, and he could even assign some of the work to weavers. Just as success seemed within reach, he was afflicted with a temporary impairment of his eyesight, probably caused by strain.

This forced him to abandon weaving in favour of a more tactile three-dimensional artistic medium. Despite having only sporadically studied sculpture and having only the most elementary skills in the art, he soon found his own unique style, and astonishingly soon revealed a mature, fullydeveloped artistic ability. Within a couple

of years, he had focused on the subject matter that was to preoccupy him for the rest of his life - variations on the female body. Maillol represented something new and broke away completely from 19th century sculpture. His works cleared the path for the emerging modern art.

In 1900, Maillol was discovered by the prominent art dealer Ambroise Vollard, who was an important patron on the French art scene then. He exhibited and supported a large number of artists, including Auguste Renoir, Paul Cézanne, Pablo Picasso and Paul Gauguin. It was Vollard who organised Maillol’s first solo exhibition at his gallery on Rue Laffitte in Paris in 1902. Maillol’s sculptures immediately aroused the interest and admiration of his artist colleagues and art lovers in general.

In only a few years, Maillol had become a success, and his dire financial situation improved thanks to a wealthy patron. But he was still controversial or unknown to the broader public. The sculpture in our auction stems from this early period, originally in a plaster version purchased by Vollard. “Jeune fille Agenouillée”, is an exquisite example of Maillol’s early 20th century works, with its artless simplicity, grace and archaic style.

“I find form pleasing and that is what I create; but for me it is only a way of expressing the idea. It is ideas that I am looking for. I use form to reach what is 26

without form. I strive to convey what is not palpable, what cannot be touched.”

Aristide Maillol The 19th century sculptural tradition was largely based on realism, with a great measure of narrative, which included the use of metaphors, symbols and attributes.

At the turn of the century, Auguste Rodin was by far the dominating sculptor. His vigorous works are characterised by contorted, almost tortured shapes, and can be seen as combining two of the prevailing tendencies at the time, realism and symbolism. Most young sculptors in the late-1800s were influenced by his art and his teachings. Perhaps, Maillol’s distinctive art would not have come to expression had he taken up sculpture in his youth and thereby possibly been taught by Rodin. Maillol’s simplified, static sculptures made a clean break with the 19th century. With their silent, closed, massive forms, they defy any attempt at interpretation. In the late-1800s, Maillol had come into contact with the Nabis group of artists, whose members included Maurice Denis, Édouard Vuillard and Pierre Bonnard. Inspired by Gauguin’s innovative theories, they were opposed to impressionist naturalism. They were more interested in the artist’s own inner visions than by observing nature. ”A picture, before being a battle horse, a nude, an anecdote or whatnot, is essentially a flat surface covered with colours assembled in

27

Maillol at “La Métairie” working with “L’Harmonie”, Banyals 1943.

a certain order.” This was said by Maurice Denis, and presages modern art. It can also in some sense be applied to Maillol’s sculptures. His aim was that art should not be descriptive or avail itself of metaphors, but that it should represent a striving towards a simplification of form, in order to express the synthesis of the object.

“When nations grow old […] art gets complicated and soft. We have to try to become young again and work in all innocence. That’s what I am trying to do.

And that’s why I’ve had some success, because this is a period when people are trying to return to the primitive. I myself work as if nothing ever existed, as if I had never learnt any-thing. I am the first ever to make sculpture.”

Aristide Maillol Naturally, Maillol was not unaware of art history or the present times. He often visited museums and was an avid reader.

But he did not find his inspiration among contemporary sculptors, and was more fascinated by ancient sculpture. There was a growing ideological tendency to regard Western civilisation as degenerate, and Maillol admired early Hellenic sculptors, especially Phidias. He considered late Hellenic sculpture to have lost its stringency. Of even greater significance to Maillol was non-European art – specifically the Indian, Chinese and Japanese

sculptural traditions. Art from Africa, India and the Khmer Empire fascinated him. It is easy to see how he was captivated by the terse Egyptian portrayal of the human body.

Aristide Maillol had deep roots in his birthplace, Banyuls-sur-Mer in Catalonia, just north of the Spanish border. In his heart and soul, he was a Catalan, and he lived most of his life there. He married a local woman, Clotilde Narcisse. As a child, his parents left him with a spinster aunt, and he grew up without his mother. It is possible that this had a lasting impact on him, and that his fascination for the female body originated in his longing for his mother. Maillol saw the female body as a cathedral or temple, and maybe even as a refuge. Catalan women, with their robust bodies, came to influence his style of sculpting and provided a lifelong source of inspiration. He was indifferent to individual traits, however: “I am not interested in particulars, what interests me is the general idea.” His goal was the absolute, through simplification and an emphasis on mass and volume, rather than on the sensual portrayal of women’s forms. “I strive for architecture and volumes,” Maillol explains, “Sculpture is architecture, a balancing of masses, a tasteful composition. It is difficult to attain this architectural aspect. I try to render it the way Polycletes succeeded in rendering it. My point of departure is 28

always a geometrical figure – a square, a rhomb, a triangle, since they are the figures that are most stable in space.”

Maillol died in 1944, due to injuries sustained in a car accident. He was 83 then and had been active in many artistic disciplines, including painting, wood carving, pottery, book illustration and tapestry weaving. It was as a sculptor, however, that he made his most profound mark on art history. He performed numerous public commissions and over time won both national and international fame.

“Jeune fille Agenouillée” is an excellent example of Maillol’s outstanding talent.

With its robust yet graceful shapes, it conveys to us how the weight of the mass is perfectly balanced. The surface does not describe skin, but is an integrated part of the entire sculptural material. Innocent, absolutely immobile and introspective, she gives a timeless impression. In this way, she is emblematic of Maillol’s contribution to art: a hotbed, not to say a necessary condition, for what was coming, groundbreaking abstraction and modern art. Many sculptors were to follow in his footsteps, includ-ing Henri Laurens, Henry Moore and Jean Arp. Aristides Maillol’s renewal of the art of sculpture is a synthesis between ancient art and future abstract art. In this sense, his sculptures form an interface linking the origins of art with its future promise.

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281. ARISTIDE MAILLOL France 1861-1944 “JEUNE FILLE AGENOUILLÉE” (d) Signed A. Maillol and numbered 1/6. Foundry mark Georges Rudier Fondeur, Paris.

Bronze, dark patina. Height 85 cm (33 1/2 in.), total height including stone base 165 cm (65 in.).

PROVENANCE Svensk-Franska Konstgalleriet, Stockholm, Sweden.

Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (acquired from the above in 1956).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

LITERATURE John Rewald, ”Maillol”, 1939, compare p. 102 in smaller version (under the title ”Knieendes Junges Mädchen”).

Waldemar Georg, ”Aristide Maillol, et l’âme de la sculpture”, 1964, compare p. 126-127, called ”Jeune Fille agenouillée”.

Ragnar von Holten, ”Art at Marabou, a short guide”, 1974, illustrated and described p. 34.

Ragnar von Holten, ”Art at Marabou”, 1990, illustrated and mentioned p. 33.

Bertrand Lorquin, ”Aristide Maillol”, 2002, compare similar composition, p. 51 and this composition, without arms, p. 186.

OTHER Receipt from Svensk-Franska Konstgslleriet, Stockholm enclosed.

Estimate: SEK 1 500 000 – 2 000 000 / EUR 174 250 – 232 300

FOR FURTHER INFORMATION OR TO PLACE A BID

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31

auguste rodin “Le Penseur”

The Thinker is one of the world’s most famous sculptures, and it exists in several formats. The version in this auction is of the smallest format. Its suggestive power is nevertheless striking. Mankind, in deep thought, perhaps faced with a difficult problem – so poignantly present in its monumentality, so full of vigour – and yet so distant, so blithely isolated in its own mind, contemplation personified in elegant bronze!

The study for “The Thinker” was first conceived in 1880, as a crowning figure for Auguste Rodin’s monumental commission, “The Gates of Hell”. The sculpture was intended to measure 70 cm, and its working title was “The Poet”, alluding to Dante Alighieri, who wrote The Divine Comedy – which is also the literary source of the monument. “The Poet” leans forward and regards the infernal scene before him, while he also studies his work, almost like a lost soul, but, in his elated position, also as a “free man”. “The Thinker” differs radically from the other expressive figures, in his

mighty, dignified serenity; apart from representing Dante, he could conceivably be an Adam or Prometheus. Other interpretations are also possible, but the influences from pre-Christian art and Michelangelo’s colossal figures are obvious.

Auguste Rodin refrained, however, from giving his central character a specific identity, possibly preferring that viewers instead focus on how the sculpture’s design and meaning coincide. Nevertheless, the sculpture is an independent work in its own right and in a completely different genre from the “nude, classical sculptural model”.

Auguste Rodin came from a rather modest background, which made it impossible for him to fulfil his dream of studying at the École des Beaux Artes.

Instead, he was enrolled at the École Impériale de Dessin – popularly called “the little aca-demy”, which, despite its “littleness”, had some very good teachers, including Jean-Baptiste Carpeaux. The 32

learning situation must have been inspiring, since Rodin’s fellow students included James Whistler and Henri Fantin-Latour.

Jean-Baptiste Carpeaux’s sculptures were influenced by the Romantic style of painting, and he applied a painterly approach in his sculp-tures, with regard to both composition and material treatment; light and shade were also vital elements in his work. Auguste Rodin appears to have appreciated his teacher’s methods, and it is no coincidence that there are many similarities between Jean-Baptiste Carpeaux’s “Ugolino” and “The Thinker”, not least in their composition. His teacher’s sculpture also inspired August Rodin’s other sculpture in this collection, namely “The Prodigal Son”. Unlike Jean-Baptiste Carpeaux, however, August Rodin did not primarily become a sculptor who worked in stone, but one who shaped his works in wax and clay. The creative process was central – he was the magician who could bring the material to life with his hands,

33

Auguste Rodin, 1913.

rather than with hammer and chisel.

“When a good sculptor models the human body, he portrays not only the muscles but also the life that warms them.”

After completing his studies at the “Petite École”, Auguste Rodin worked for a few years as an ornamental stonemason under Albert-Ernest Carrier-Belleuse, first in Paris and later in Brussels, where his craftsmanship was admired and where he produced many decorations in the 1870s.

On his travels in Italy in 1875-76, Auguste Rodin discovered Michelangelo’s works, which gave him the impulse to work on putting his own methods and aesthetic principles into practice. He succeeded relatively well, and took part in several exhibitions in the 1870s and 1880s. He also worked periodically at the Sèvres porcelain manufactory at that time. The city of Paris was going through great changes after the Paris Commune in 1871. Urban planners such as Haussmann were building wide boulevards and open spaces, transport and

roads were developed and the old Mediaeval cityscape was “cleared away”.

Sculptural embellishments in the NeoBaroque style were in huge demand, providing plenty of job opportunities for artists such as Rodin. Competitions were also organised, along with major exhibitions, providing new platforms in addition to the prestigious Salons, for ambitious artists. Auguste Rodin’s works met with varying success. Sometimes, he was praised and won prizes, but he was often criticised, and following a controversy among critics at the Salon in 1877, he was “compensated” by the government by receiving a commission to design the portal of the Musée des Arts Décoratifs. The commission must have been appreciated by Auguste Rodin – giving him free hands to design whatever he wished. At last, he was at liberty to create according to his own vision, with no demand of being “true to nature”. There are many possible reasons why Auguste 34

Rodin chose The Divine Comedy as his source, but the dramatic narrative of this anguished journey must have had a strong appeal to a “sculptor of emotions”.

“The Thinker” is undeniably the most famous individual sculpture from The Gates of Hell. It was exhibited as a separate work for the first time in 1888 and has since been available as an independent piece in different versions. In 1904, a colossal version of the sculpture was created, and it is this mighty ”Thinker” that has enjoyed particular fame and admiration. Numerous replicas of this bronze are now found all over the world, several of them in Paris, includ-ing one in the garden of the Rodin museum.

“The Thinker” also crowns the grave of Auguste Rodin and his wife, the seamstress Rose Beuret, near their house in Meudon.

“Art is the most sublime mission of man since it is the exercise of thought seeking to understand the world and make it understood.”

Auguste Rodin

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282. AUGUSTE RODIN France 1840-1917 “LE PENSEUR” Signed A. Rodin and also signed inside A. Rodin. Foundry mark Alexis Rudier, Fondeur, Paris. The motif conceived 1880-81. Cast between 1915-1925. Bronze, dark brown patina heightened with red and blue. Patinated by Jean Limet (choosen by Auguste Rodin). Height 38 cm (15 in.).

PROVENANCE Bukowski Auktioner AB, Stockholm, Sale 402, 2-5 November 1976, lot 314 (illustrated full page in the catalogue, plate 55).

Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (acquired from the above sale).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

EXHIBITIONS Royal Academy of Art, 23 September - 1 January 2006, compare no 76, 77, 319 och 321. (In collaboration with Musée Rodin, Paris).

Kunsthaus Zürich, 9 February - 13 May 2007, compare no 76, 77, 319 och 321.

(In collaboration with Musée Rodin, Paris).

LITERATURE Georges Grapp, ”Catalogue du Musée Rodin”, 1929, described p. 167-169, compare p. 73-74.

Henri Martinie, ”Auguste Rodin”, 1949, compare no 19.

Albert Elsen, ”Rodin”, 1963, compare p. 25, 52-53.

Ionel Jianou and Cécile Goldscheider, ”Rodin”, 1967, compare p. 88, pl. 11.

John L. Tancock, ”The sculpture of Auguste Rodin”, 1976, compare p. 111-120.

Albert Elsen (ed.), ”Rodin Rediscovered”, 1981, compare p. 67.

Albert Elsen, ”The Gates of Hell by Auguste Rodin”, 1985, compare fig 50 and 60 and p. 56 and 71.

Ragnar von Holten, ”Art at Marabou”, Uddevalla 1990, illustrated and mentioned p. 37.

Antoinette Le Normand-Romain m.fl, ”Rodin”, 2006. Compare terracotta p. 55, compare composition in varius material and sizes pp. 64-67, and list of work no 76, 77, 319 and 321. Compare p. 119.

Antoinette Le Normand-Romain, ”The bronzez of Rodin. Catalogue of works in the Musée Rodin, Volume 1”, 2007 compare p. 14, p. 16, p. 28, fig. 44, p. 44, fig. 89, p. 85, no 1131. Volume 2: compare p. 585.

OTHER This bronze will be included in the forthcoming ”Auguste Rodin - catalogue critique de l’oeuvre sculpté” being currently prepared by the Comité Rodin at Galerie Brame et Lorenceau under the direction of Monsieur Jérôme Le Blay with the archive no 2012-4017B. There are only ten recognized casts in this size from the period 1915-1925.

Copy of payment from Mr Johan Throne-Holst to Bukowskis, dated November 3 1976 enclosed.

Estimate: SEK 3 000 000 – 4 000 000 / EUR 348 450 – 464 600

FOR FURTHER INFORMATION OR TO PLACE A BID

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37

auguste rodin “L’enfant prodigue”

L’Enfant Prodigue – The Prodigal Son. Auguste Rodin’s sculpture “The Prodigal Son” is a vivid new interpretation of a biblical story that has inspired artists through-out the ages and up to the present day. The parable of the prodigal son is found in the New Testament, Luke 15:11. A man had two sons. The younger of the two asks his father for his share of their inheritance, which the father grants him.

Shortly thereafter, he leaves his father’s house and has soon squandered what he was given. In deepest need, he has no choice but to return to his father and ask his forgiveness. The parable has many meanings, but in simple terms it is the story of how man can lose everything through carelessness but if he returns to God (his father’s house) he will find charitable redemption. The great drama surrounding the moment of return has inspired many artists, and both Rembrandt and Brancusi have portrayed the scene. There are also countless paintings and illustrations of the return of the prodigal son.

Auguste Rodin’s “Prodigal Son” is a masterly sculptural scene in bronze: the deep despair of the son, his tense, tormented body forming an arc rising from the heavy mass, seemingly in an endless movement. The dramatic subject, the return of the prodigal son, is usually portrayed with both father and son present, but Auguste Rodin’s sculpture features only the son and his anguish. It is a remarkably vivid and slightly impressionist sculpture, where the presence of the father is merely implied.

The figure reaches with his tortured arms towards the sky, beseeching his father (God) for mercy. Auguste Rodin achieves a significantly expressive mood by making the hands somewhat archaic and overdimensioned, in contrast with the slightly un-balanced body. By diverging from the usual portrayal, Rodin created a sculpture which is a more universal expression of despair, but its lively plasticity also radiates great energy and passion. The way the figure seems to be rising from a boulder is typical of Auguste Rodin, who used his 38

hands to shape “dead matter” into a process full of life, where the fundamental element is dynamic rather than static.

“Everything can be found in nature, the artist who follows nature will achieve everything. It is simply a matter of seeing.

Undoubtedly, an untalented person who copies nature will create a bad work of art because he sees without seeing – even if he copies every detail. But the artist calling is not for the ungifted, no advice in the world can give them talent.

When Auguste Rodin worked, he did not place the model in any particular pose but let him or her stand still or walk around the studio together with other models, while he watched their movements and expressions. When a model made a movement Rodin liked, he commanded them to hold the pose while he quickly shaped it in clay. These sketches were often cast exactly as they were after the first session, with finger marks and small blobs of clay, giving the surface a nervous, vivid quality. This impressionistic technique

39

Auguste Rodin in his atelier.

was an entirely conscious choice by Rodin when he modelled his sculptures. His works are never smooth but have a lively and bold style.

Auguste Rodin was one of the first sculptors to champion the aesthetic value of the unfinished work. This is closely related to Impressionist ideals in painting. It took some time, however, for the world and the art scene to accept this approach to in image and form. To earn his living, Rodin was forced to concede to the prevailing order, and worked together with other generally recognised sculptors on public commissions. The city of Paris was undergoing great changes in the late-19th century, and the demand for decorative Neo-Baroque sculptures seemed insatiable.

Many of Auguste Rodin’s most famous works, including “The Prodigal Son” originate in a particular assignment. In 1889, Auguste Rodin was finally given the opportunity to design the portal of Musée des Arts Decoratifs in Paris. The concept for the image, “The Gates of Hell” – inspired

by Dante Alighieri’s Inferno – is now regarded as a key work in Auguste Rodin’s entire oeuvre. The portal was not carried out as planned, but it has been replicated later, according to Rodin’s sketches, and can be seen at the Musée d’Orsay in Paris, the Kunsthaus Zürich, and at Stanford University in California. In the 1870s, Rodin had travelled extensively in Italy and France and had been deeply impressed by the works of Michelangelo and Donatello, and also by Gothic sculptures. These influences are prominent in both the sketches and the posthumous Gates of Hell. Like a Mediaeval ornamental stonemason, Rodin made many smaller sculptures, which he later developed into independent works. The Gates of Hell is not a narrative image of “hell”; instead, Rodin attempted to model a state of mind. The figures were inspired by Greco-Roman mythology, the Bible and contemporary Paris. Common to them all is their misery. The famous sculpture “The Thinker”, which is also among the works in this auction, originated in this 40

work and forms a central figure in the portal. The original for “The Prodigal Son”, again, was part of The Gates of Hell, and was inspired by the so-called Ugolini Group. One of the youths in the group provided the face and torso for “The Prodigal Son”. This approach is typical of how Auguste Rodin “recycled” his figures by working on their features and using them in new constellations. Perpetual movement, transformation of objects and, above all, the autonomy of fragments, were his guiding principles.

To recreate movement in nature, the immediate tension and life of muscles, the pulse of blood and nerves under translucent skin, to capture that which is changing constantly and taking place in the human body. ”The Prodigal Son” is an astonishing sculpture, with a strong emotional dynamic that testifies to Auguste Rodin’s incredible understanding of materials and the human psyche.

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283. AUGUSTE RODIN France 1840-1917 “L’ENFANT PRODIGUE” Signed A. Rodin. Foundry mark Alexis Rudier, Fondeur, Paris. Conceived in 1889.

Cast during the 1940s in an edition of 12. Bronze, green patina. Height 140 cm (55 1/8 in.), total height including stone base 170 cm (66 7/8 in.).

PROVENANCE Musée Rodin, Paris.

Svensk-Franska Konstgalleriet, Stockholm, Sweden (acquired from the above).

Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (acquired from the above in 1960).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

EXHIBITIONS ”Erotikk og galenskap. Ernst Josephson and Auguste Rodin”, Foundation Modums Blaafarvevaerk, Modum, Norway, 19 May - 23 September 2001. The present number mentioned and with picture at p 127, no 74, and listed at p. 169.

Royal Academy of Arts, London, ”Rodin”, 23 September - 1 January 2006, compare no 122. (In collaboration with Musée Rodin, Paris).

Kunsthaus Zürich, ”Rodin”, 9 February - 13 May 2007, compare no 122.

(In collaboration with Musée Rodin, Paris).

LITERATURE Georges Grappe, ”Catalogue du Musée Rodin”, 1927, no 220, compare p. 82.

Georges Grappe, ”Le Musée Rodin”, 1947, no 83, compare p. 142.

Albert Elsen, ”Rodin”, 1963, compare p. 56-57.

Athena Tacha, ”The Prodigal Son: Some Aspects of Rodin’s Sculpture” (Allen Memorial Art Museujm Bulletin), 1964, volume 22, compare 23-39. Compare p. 24, 26, 31.

Robert Descharnes and Jean-Francois Chabrun, ”Auguste Rodin”, 1967, compare p. 91 Ionel Jianou and C. Goldschneider, ”Rodin”, 1967, compare no 34.

Athena Tacha Spear, ”A Note on Rodin´s Prodigal Son and on the Relationship of Rodin’s Marbles and Bronzes” (Allen Memorial Art Museum Bulletin), 1969, vol. 27, compare p. 24-36.

Albert Elsen, ”Rodin”, 1974, compare p. 57-59.

Ragnar von Holten, ”Art at Marabou, a short guide”, Stockholm 1974, mentioned and illustrated p. 39.

Jennifer Hawkins, ”Rodin Sculptures”, 1975, compare p. 18, no 3.

John L. Tancock, ”The Sculpture of Auguste Rodin”, 1976, compare pp. 20, 45, 94, 158, 162, 607.

Jacques de Caso and Patricia B. Sanders, ”Rodin’s Sculpture: A Critical Study of the Spreckels Collection”, 1977, mentioned pp. 159-163, compare p. 161.

Alain Beausire, ”Quand Rodin exposait”, 1988, fig. 173, compare p. 342.

Anna-Birgitte Fonsmark, ”Rodin: La collection du Brasseur Carl Jacobsen á la Glyptotheque, 1988, compare pp. 103-105, no 16.

Yann Le Pichon and Carol Mark Lavrillier, ”Rodin: La porte de l’enfer”, 1988, compare p. 183-185.

Ragnar von Holten, ”Art at Marabou”, Uddevalla 1990, illustrated and mentioned p. 36. Rainer Crone and Siegfried Salzmann, ”Rodin: Eros and Crativity”, 1992, compare p. 199.

Mary L. Levkoff, ”Rodin in His Time”: The cantor Gifts to the Los Angeles County Museum of Art, 1994, compare p. 83.

Tone Sinding Steinsvik, ”Erotikk og galenskap. Ernst Josephson and Auguste Rodin”, 2001. The present lot mentioned and illustrated in colour p. 127, no 74, and listed at p. 169.

Antoinette Le Normand-Romain, ”Rodin”, 2006. Compare p. 80, no 122 p. 235.

Antoinette Le Normand-Romain, ”The bronzez of Rodin. Catalogue of works in the Musée Rodin, Volume 1”, 2007 compare p. 92, p. 319, no 6693, described p. 320-322, compare fig 1-6.

OTHER Receipt from Svensk-Franska Konstgalleriet, Stockholm, dated June 15 1960 enclosed.

Certificate issued by Madame C. Goldscheider, Conservateur du Musée Rodin, Paris, dated 27 January 1962, enclosed (”Tirage unique limité à 12 épreuves”).

Estimate: SEK 6 000 000 – 8 000 000 / EUR 696 900 – 929 200

FOR FURTHER INFORMATION OR TO PLACE A BID

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43

jean arp “Amphore de Muse”

The sculpture “Amphore de Muse” epitomises the essence of fantastic form, a remarkable idea that is brought into being in bronze. It could almost be described as an abstract sculpture, since it is not directly figurative, but its lines and shifting surfaces nevertheless enable us to identify patterns and figures. The work immediately activates our eyes and offers such a multifaceted impression that even our tactile sense is in-volved. The rounded contours play exqui-sitely against the shiny, terser surfaces, and the overall effect is of an autonomous form in complete harmony that entices us to caress the billowing lines with our hands.

The artist behind this work, Jean Arp, was one of the pioneers of Dadaism, but also one of the bold artists who broke new ground by working exclusively with abstract elements in both painting and sculpture, using every conceivable material, including textiles, to give shape to his ideas.

Jean (Hans) Arp was born in Strasbourg.

He studied at the Academy of Art in Weimar in 1905-1907, where he encountered the modern tendencies in art, but soon moved on to Paris, where he studied in 1910 at the Académie Julian. At the outbreak of the First World War, his family moved to Switzerland. Jean Arp’s mother stemmed from the neutral Alpine region, and the family settled in Weggis, in the German-speaking part of the country. Jean Arp was thus spared some of the wartime hardship and spent much of his time in Zürich. He took an early interest in abstract art, and by 1911 he was already producing his own abstract sketches. On his study trips and sojourns in Paris and Munich he made friends with Robert Delaunay and Wassily Kandinsky, and had the opportunity to exhibit his abstract work, for instance at Der Sturm’s Autumn Salon in 1914. In Zürich he met the “universal artist” Hugo Ball, who started Cabaret Voltaire – a 44

form of experimental workshop for the arts, housed in a small, modest restaurant, where visitors were entertained with unconventional concerts, modern music with classical elements, readings of nonsense poetry, modern dance, etc. Here, Jean Arp met Tristan Tzara and Richard Huelsenbeck, who used mainly words as their artistic medium. They also produced a amagazine together. Jean Arp became the main illu-strator for these two poets – and the close collaboration with Tristan Tzara continued throughout Jean Arp’s life. The circle also included the dancer and artist Sophie Tauber, whom Jean Arp married in 1922. The group grew, and the members sought new forums for their ideas. In 1917, Galerie Dada opened, where Jean Arp exhibited his work and contributed frequently to the gallery’s publication.

From initially being a loose group of intellectual “anti-traditionalists”, Cabaret Voltaire gradually grew more radical. The

Jean Arp in his atelier, in the background “Amphore de Muse”, 1950s.

name “Voltaire”, which signalled intellectualism, was exchanged for “da-da” – a word as meaningless as baby talk. This group of young artists, musicians and poets was in search of something beyond the established movements – Expres-sionism, Futurism and Symbolism were deplorable and demoralising – since they had promoted war, accord-ing to the Dadaists.

In 1917-1918, the group dissolved, however, and Jean Arp took off for Cologne, where he formed Dada Köln in 1919 together with Max Ernst and Johannes Baargeld. The time in Cologne was highly productive; among other things, they experimented with quirky collages, socalled Fatagagas (Fabrication de tableaux garantis gazométriques). Dadaism was a reaction, partly against the emerging modern society, and partly against the artistic ideal favoured and hailed by it. But more than anything else, it was a literary movement. According to the Dadaists,

“Art” was nothing but an illusion of no particular value. What had Modernism achieved? Wasn’t it a fact that the best Cubism was an excellent example of an academic discipline that appealed to the educated intellectual classes? Hadn’t the Futurists glori-fied war? Instead, Jean Arp and his fellow artists pioneered performance art – preferring the transient, that which could not be preserved or conserved – that which could not be “captured and put into a museum” was seen to be genuine art.

In his work, Jean Arp challenged, rather than created, art; he used old methods and styles, but in new contexts. In the 1930s, he increasingly applied himself to making sculptures or three-dimensional objects.

But the starting point for his work was still the same. He preferred open, individualised shapes based on the human body, and distanced himself at an early stage in his career from Expressionism, in favour of 46

abstract form. These forms do not always originate in any actual object, but can be seen more as organic, evolving shapes.

Jean Arp also liked to combine his organic shapes with more realistic elements – all according to the laws of chance, as he expressed it. “Amphore de Muse” is a fine example of this artistic intention, which also meant that the artist’s composition was influenced by external factors, such as wind, gravity, and so on. Relinquishing the traditional artist role – that of the inspired master – is a characteristically Dadaist approach.

The sculpture “Amphore de Muse” is from Jean Arp’s late oeuvre but is considered to be one of his more aesthetic works. The approach is related to certain Surrealist ideas, where the finished work originates in uninhibited, uncensored and uncontrolled dreaming. Jean Arp’s artistic practice can be compared to a magician who finds his inspiration in the random shapes of nature.

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284. JEAN (HANS) ARP France 1887-1966 “AMPHORE DE MUSE” (d) Signed HA and numbered I/III. Conceived in 1959 and cast in the same year.

Bronze, gold patina. Height 121 cm (47 5/8 in.), total height including stone base 171 cm (67 1/4 in.).

PROVENANCE Galerie Denise René, Paris.

Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (aquired from the above in 1960).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

EXHIBITIONS Moderna museet, Stockholm, Sweden, ”Önskemuseet”, 26 December 1963 - 23 February 1964.

LITERATURE Eduard Trier, ”Hans Arp, Skulpturen 1957-1966”, 1968, compare p. 23 and listed p. 109, no 183.

Ragnar von Holten, ”Art at Marabou, a short guide”, 1974, illustrated p. 16 and mentioned pp. 16-17.

Ragnar von Holten, ”Art at Marabou”, 1990, illustrated and mentioned p. 6.

OTHER Receipt from Galerie Denise René, Paris enclosed.

Estimate: SEK 2 000 000 – 2 500 000 / EUR 232 300 – 290 400

FOR FURTHER INFORMATION OR TO PLACE A BID

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49

arnaldo pomodoro “Radar No 2”

It has been said that Arnaldo Pomodoro is to sculpture what Lucio Fontana was to painting. Both represent something highly innovative in their respective genres, Fontana treated his paintings like sculptures and Pomodoro, in turn, treated his sculptures like paintings, filled with both memories and visions of the future.

Arnaldo Pomodoro is undoubtedly Italy’s most famous and influential 20th century sculptor. His artistic career began back in the mid-1940s, when he was engaged in restoring buildings in the Italian city of Pesaro, an occupation he pursued until 1957, while dreaming of becoming an architect. But he chose to study stage design instead, and also eventually worked as a goldsmith. These skills are combined in his sculptural oeuvre, giving his works a profoundly unique expression. They have the jeweller’s attention to detail and knowledge of materials, while the monumental format and natural interaction with the surrounding space are suggestive of architecture. Pomodoro himself has said that both sculpture and architecture need to appeal to the viewer in an aesthetic, spiritual and functional way in order to be

meaningful. Alongside his profession as a sculptor, Pomodoro has also designed stage sets and costumes for several opera productions. His skills as a set designer are integrated in his sculptural works, especially with regard to their positioning.

In 1954, Pomodoro moved to Milan, where he continues to live and work. That year, he also exhibited jewellery and metal reliefs for the first time, at Galleria Numero in Florence and at Galleria Montenapoleone in Milan, with his brother, Giò. His sculptures were shown for the first time in 1955, at Galleria del Naviglio in Milan. In the late1950s, Pomodoro travelled around Europe and the USA, including New York and Paris, where he became acquainted with Alberto Giacometti. In the 1960s, Pomodoro’s sculptures grew larger and free-standing.

His breakthrough came in 1963, with the biennial in São Paulo, Brazil, where he was awarded the International Sculpture Prize.

This was followed by a solo exhibition at the Venice Biennale in 1964, which marked the starting point for a succession of nearly 50 exhibitions to date at biennials around the world. In 1965, he opened his first solo exhibitions at the prestigious Marlborough 50

Gallery in New York and Rome. During the 1960s, he was also a popular teacher at both Stanford University and the University of California, Berkeley.

Towards the end of the decade, Pomodoro embarked on projects for monumental outdoor sculptures for Darmstadt, New York, Milan and other locations. These works made him known to a broader general public. His most famous work is “Sphere within a Sphere”, which has been made in several versions and formats.

Two of these can be seen at Cortile della Pigna in the Vatican and outside the UN Headquarters in New York. This is a deeply symbolic work that consists of a gigantic globe in polished bronze, a shining, golden sphere reminiscent of planet Earth. The surface of this orb is riddled with deep gaping cracks. A closer look reveals another, smaller orb inside which is on its way out. Pomodoro claims that his works are exceedingly suitable in places where many people pass through, and where the sculptures become a natural part of their everyday lives, movements and thoughts.

His sculptures are found in many places, including Amalienborg Gardens in

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Arnaldo Pomodoro at “Fonderia Artistica Battaglia”.

Copenhagen, the churchyard in Urbino, in Belvedere, Florence, and at the PalaisRoyal, Paris. In Stockholm, we have his work “Scatola” (inaugurated in 1967) at the crossing of Karlavägen/Sturegatan Pomodoro is still active at the age of 86, and last year he had three solo exhibitions in different places around the world. He is represented in many of the finest international art collections, including the Solomon R. Guggenheim Museum, New York, the Nelson A. Rockefeller Collection, New York, the Museum of Modern Art, New York, and the Peggy Guggenheim Collection in Venice.

Ever since his first public sculptures saw the light of day, Pomodoro has adhered strictly to his own unique style, exploring and working with the basic geometric shapes of the cube, the pyramid and the orb. Pomodoro’s works are cast using traditional methods, in durable materials such as bronze, stainless steel and concrete. Their design and construction is highly complex, and they are usually made in very small editions. His heavy, geometric shapes and massive volumes give the impression of being in perpetual change and different stages of decomposition. The

surfaces are partially broken up and pockmarked; they look like something from deep down inside the earth, or perhaps from outer space. It is the contrast between the interior and exterior that make his sculptures so intriguing. The variations in materials and surfaces, smoothness contrasting with rough, processed relief, Where the complex and enigmatic signs symbolise communication between people. They originate in Paul Klee’s prints and drawings, but Pomodoro has also been inspired by ancient dead languages, such as Sumerian scripts and Egyptian hieroglyphics. Using various goldsmith techniques, he has then developed them into three-dimensional ornamentation that he combines with highlypolished surfaces.

The exquisitely beautiful and poetic “Radar No 2” is from 1961 and was acquired in 1968 by the Marabou collection from Galerie Pierre, located on Nybrogatan 1 in Stockholm at the time. It was featured there in a solo exhibition that year, the only solo exhibition Pomodoro has ever had in Sweden, as far as we know. Correspondence between Henning Throne-Holst and 52

Pomodoro reveals that Throne-Holst was very fond of the artist’s jewellery and sculptures and had plans to acquire further works for the collection. The shiny, golden “Radar No 2” was placed in Marabou’s reception, where it welcomed visitors for many years. The convex sculpture resembles a satellite dish aiming its receiver diagonally up at the sky. Its smooth, round shape is interrupted by a raised section with written characters – or is it a miniature model of a city? The roundness against the angularity of the concrete fundament creates a dynamic energy, and its simple shapes serve to contain the more complex and detailed narratives told within its shell.

Like the Mima in Harry Martinson’s epic poem Aniara, “Radar No 2” appears capable of picking up fragments of thought in space and showing them as wondrously beautiful images to its fellow travellers. “The Mima tuned us in to signs of life spread far and wide. But where they were the Mima would not say. We pull in traces, pictures, landscapes, scraps of language being spoken someplace, only where? Our faithful Mima does the best she can and searches, searches, searches.”

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285. ARNALDO POMODORO Italy 1926 “RADAR NO 2” (d) Signed Arnaldo Pomodoro and dated -61. Marked 02/p.a. (prova autore).

Bronze, gold patina.

Height 76.5 cm (30 1/8 in.), diam 105 x 108 cm (41 3/8 x 42 1/2 in.), total height including concrete base 113 cm (44 1/2 in.).

PROVENANCE Galerie Pierre, Stockholm, Sweden.

Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (aquired from the above in 1968).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

EXHIBITIONS Galerie Pierre, Stockholm, ”I Rotanti”, 29 March - 30 April 1968, No 20.

LITERATURE Arnaldo Pomodoro (editor), ”I Rotanti”, 1968, No 20. Ragnar von Holten, ”Art at Marabou, a short guide”, 1974, illlustrated and mentioned p. 37.

Henning Throne-Holst, ”Ur Marabous byggnadshistoria”, 1977, illustrated in photo from the entrance hall, p. 37.

Ragnar von Holten, ”Art at Marabou”, 1990, illustrated and mentioned, p. 39.

OTHER Receipt from Galerie Pierre, Stockholm enclosed. (Correspondence between Arnaldo Pomodoro and Henning Throne-Holst is also preserved).

Estimate: SEK 700 000 – 800 000 / EUR 81 350 – 92 950

FOR FURTHER INFORMATION OR TO PLACE A BID

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55

eric grate “Silvatica”

Eric Grate’s remarkable imagery always invites us in to his fantasy world. He respects nature’s own creations, but “sometimes plays God” by reshaping and combining nature and fantasy into new, astonishing objects that are both familiar and complet-ely new, at one and the same time. Grate borrows fragments from nature and uses his unlimited imagination in unique ways. He himself devoted his works to the rocks, the plants, the wind, the water, the fish, the dog, the swallow, the insects, and to humankind, which has a bit of everything.

After studying at the Royal Academy of Fine Arts in 1917-1920, Grate travelled to Italy and Greece, filling his sketchbooks with drawings of insects, plant fragments and details of ancient architecture, sculptures and pottery. Although these shapes are found in his sculptures throughout his career, Grate’s primary source of inspiration was probably African art, which he encountered early in life; Grate had the key to a small flat on Wallingatan in Stockholm, where the Ethnographic Museum kept its collections for a period in the 1910s.

This was where Grate discovered African culture, and what he saw had such a

magical allure that he was already familiar, when he arrived in Paris in 1924, with the world that Cubists such as Maurice Vlaminck had applied in their paintings. At the Trocadéro Museum in Paris, he found a vast amount of African artefacts that had been collected entirely randomly and unsystematically, and in the home of the sculptor Paul Guillaume (the first to produce an exhibition of African art) there was a large collection he could study. He bought his own first African object in a curiosity shop, a bateke fetish figure with bonga, a large belly of red clay that eventually crumbled to reveal its sinister contents, a snake’s head! Over time, he amassed a large collection of Africana. In the catalogue for the Liljevalchs exhibition “Eric Grate Six Decades” in 1976, the artist, friend and professor CO Hultén describes his encounter with the African collection in Grate’s studio: “I am wandering around Eric Grate’s studio alone for a few hours. Back and forth between the studio and the room with his collection of African masks and sculptures. The file of studio rooms evokes a rare sense of pleasure and a remarkable association. There are sculptures everywhere.

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On tables, chairs, boxes, pulpits and modelling stands. They are reflected in a mirrored shelf, placed on window ledges, on the floor. Books on various subjects and from every corner of the earth. Many on Africa and African art.”

Eric Grate lived for nearly ten years in Paris, in 1924-1933, a seminal period in his life when he discovered the Surrealists Jean Arp, Paul Eluard and Tristan Tzara, and the sculptors Charles Despiau, Aristide Maillol and Constantin Brancusi. Initially, his ideal was classical sculpture, but as he persisted with diligent croquis drawing at Académie de la Grande Chaumière and Académie Colarossi, his style began to change. He was overwhelmed by all the Greco-Roman sculptures he had seen on his travels, and decided to be more restrictive and began to apply a measure of asceticism; under the influence of Maillol he began to sculpt serenely symmetrical, heavy female figures. He exhibited at the annual salons and managed to show as many as 19 sculptures at these prestigious meeting places for the Paris art scene. He also exhibited four times at the newlyopened radical “Salon des Tuileries” between 1927 and 1930. This Salon only

57

Eric Grate in his atelier.

showed artists by special invitation, and his co-exhibitors included the sculptors Bourdelle, Brancusi, Calder, Despiau and Zadkine. Thus, Grate was truly in the right place at the right time!

In 1929, Grate was invited by the Swedish Association for Art (SAK) to exhibit 43 sculptures and drawings at Liljevalchs Konsthall in Stockholm, and in 1930 he participated in Otto G Carlsund’s international exhibition of Post-Cubism at the Stockholm Exhibition. After his return to Sweden, the number of exhibitions intensified, and he won several public commissions, including “The Seasons” for the Government Offices in Stockholm, ”The Fountain of Transformation” at the Marabou factory in Sundbyberg, and stage sets and costumes for the Royal Dramatic Theatre’s production of Jean-Paul Sartre’s “The Flies”.

He took part in international biennials and worked intensely in a broad field, his style constantly evolving; he re-turned to shapes found in nature, picking out fragments and recreating the godlike creatures that became his theme after the Second World War. Eric Grate appears to have had an insatiable curiosity; his travels around the world and his collecting of everything be-

tween heaven and earth constantly provided him with ideas for new forms, new combinations, an artistic approach inspired by different cultures but also by nature, fish bones, vertebrae, shells, stones, and an endless list of other objects. He succeeded in harmonising different period styles, identifying primeval echoes and combining them with metallic contemporary resonance.

CO Hultén recalls from his encounters with Grate that his most characteristic trait was “his demand on meticulously processing and realising his intentions”.

Eric Grate’s relationship with Marabou dates back to the 1940s when he created a relief commissioned by the chocolate factory’s dynamic and art-loving director, Henning Throne-Holst. The relief had only just been installed in Sundbyberg when he received a new commission. This time, Throne-Holst wanted Grate to design a fountain to be placed in front of the canteen. He worked on “The Fountain of Tran-sition” in 1943-1956, a magnificent and monumental piece with trickling water, measuring 330 cm in diameter. A warm friendship grew between Henning ThroneHolst and Eric Grate, leading to the acquisition in 1960 of yet another 58

sculpture, the remarkable “Silvatica”.

This monumental piece is among the now-famous plant-inspired sculptures that Eric Grate devoted himself to in the late1950s. “Silvatica”, whose name is a variant of the Latin word silva, forest, is both a forest lily and a seated woman. Graceful and sensual, she is swathed in petals, with a torso, arms and legs of stylised leaves.

In the book “Erik Grate” published by SAK in 1978, Pontus Grate and Ragnar von Holten write: “A Nordic Daphne from the forests of Carl Linnaeus. As she unfolds her leaves and reveals her beauty, she is transformed into an enticing sexual being. Her seated position becomes a heavy, sensual repose on the ground. But the spiralling opened plane and the finely-chiselled, concave silhouettes lift slowly and gracefully in a flighty, provocative dance of veils.

With its abstract design, its sharp and well-defined play of lines and its innovativeness, it nevertheless harks back to the naturalist lyricism that Grate developed in the 1930s and to his life-long passion and proximity to African art. “Silvatica” is one of Eric Grate’s finest sculptures, which, in many ways, sums up his entire oeuvre.

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286. ERIC GRATE 1896-1983 “SILVATICA” (d) Signed Eric Grate and numbered 1/4. Cast in 1958-60. Foundry mark Herman Bergman Fud. Bronze, brown patina. Height 210 cm (82 5/8 in.), total height including stone base 218 cm (85 7/8 in.).

PROVENANCE Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (aquired directly from the artist in 1960).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

LITERATURE Henning Throne-Holst, ”Ur Marabous byggnadshistoria”, 1977, illustrated and mentioned p. 59 as well as illustrated in photo, p. 6.

Pontus Grate, Ragnar von Holten, ”Eric Grate”, SAK, 1978, illustrated and mentioned p. 111.

Ragnar von Holten, ”Art at Marabou”, 1990, illustrated and mentioned p. 19.

Estimate: SEK 1 500 000 – 2 000 000 / EUR 174 250 – 232 300

FOR FURTHER INFORMATION OR TO PLACE A BID

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61

LYNN chadwick “Pair of sitting figures”

“More than human” Lynn Chadwick’s characteristic figures are immediately distinguishable. They have their very own address, with a distinct style that resembles no other. Majestic strangers, enigmatic, never relaxed – but alert. With their geometrically simplified forms and jaggedly draped capes they awaken associations and fascination. Chadwick repeat-edly made sculptures of couples, especially where one figure is female and the other male. From his variations on the sculpture “Teddyboy and Girl” in the 1950s, and throughout his subsequent production, he returned to the couple, in various constellations and postures: seated, reclining, dancing, walking, winged and mantled. The relationship and tension between the two subjects of the couple was a theme he explored throughout his oeuvre.

“It seems to me that art must be the manifestation of some vital force coming from the dark, caught by the imagination and translated by the artist´s ability and skill into painting, poetry, sometimes music. But whatever final shape, the force behind it, as the man said of peace, indivisible. When we philosophise upon the force, we lose sight of it. The intellect alone is still too clumsy to grasp it. The wood is lost in the trees. The intellectual, in his sincere desire to understand by reason, is weary of art which eludes all definitions.”

Lynn Chadwick Lynn Chadwick made his debut on the British art scene just after the Second World War, together with a new generation of artists. Europe lay in ruins, the world was in shock after witnessing the horrors of war, genocide and the effects of the atom bomb. Artists had to relate to this shattered world. Chadwick was an RAF pilot during the war. His desire to devote his life to art had emerged while he was still a young man, but his parents’ disapproval forced him to compromise, and he instead trained to be an architect. Before the war, he worked as a draughtsman for an architectural firm. He lacked any formal education in art, and it is perhaps possible to discern the terse geometry of architectural drawings in his oeuvre. When the war ended, Chadwick was full of longing to create, to achieve something new. In his own words: “... some of us felt after the war that we had to make something and that painting was exhausted as far as this attempt to make something was concerned. Actually, we didn’t – at least I didn’t – think of sculpture as such. We thought of construction, of building with our hands.” It took some time, however, before he dared to take the step fully, so he continued working successfully as a designer and interior architect for some years. In the late-1940s, he made his living designing exhibition stands, furniture 62

and wallpaper, alongside his career as an artist. Chadwick’s first works of art were abstract kinetic constructions which are occasionally compared to Alexander Calder’s mobiles. Chadwick’s mobiles, however, have a distinctively air-borne character, suggesting birds or aeroplanes.

These early works are not entirely threedimensional, but have the nature of flattened structures. He soon gave up making mobiles and went on to create more stable works. These consisted of angular, jagged formations in open compositions of metal and broken glass. In the early 1950s, they began transforming from abstract shapes into more animal-like, or beastly, creatures. These beasts are not intended to represent existing animals; instead, they are vaguely reminiscent of birds, insects and monsters. The former open structures developed into more massive volumes. By the mid-1950s he had mastered his technique fully and achieved his own evocative style. A vast bestiary of monsters, imaginary birds and figures appeared and were to inhabit his artistic universe from then on. The major breakthrough in his career came in 1956, when Chadwick was awarded the prestigious International Prize for Sculpture at the 28th Venice Biennale. His art was acknowledged internationally and he sold numerous works to both public and private collections. Two years later, he moved with

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Lynn Chadwick beside one of his monumental sculptures.

his family to Lypiatt Park, a Tudor manor house in Gloucestershire, England. At the Venice Biennale in 1988, he exhibited his magnificent sculpture “Back to Venice”, two monu-mental seated figures. This return, more than 30 years after his breakthrough, can be seen as a manifestation of a long and successful artistic oeuvre. Lynn Chadwick is now recognised as one of the most important and prominent sculptors of post-war Britain.

The expression in Lynn Chadwick’s sculptures is profoundly linked to his work methods. He was basically an autodidact and invented his own techniques. The sculptures developed as his methods were refined and improved. He describes his own approach as a three-dimensional drawing with metal rods, where he first bent and shaped the rods to the desired form and then welded them together. He then filled the structures that were intended to be solid. Sheet metal was used for some sculptures; applied over the structure, this gave the impression of “metal skin”. Towards the end of the 1950s, he also began casting his sculptures in bronze. Chadwick put great emphasis on patina, and devoted much of his efforts to the surface texture and colour.

“I think that my personal idiom came through my technique, really, and because I worked in this way these images came this way and I couldn’t have done it any other

way. I couldn’t have painted this and I couldn’t have carved this in wood because it would have come out quite differently. I wouldn’t have been able to do it. Everything is because of, shall we say, the limitations of my technique.” - Chadwick.

Variations on the triangle are the basic geometric element in Chadwick’s oeuvre, sometimes combined into rectangles. This shape, placed in different orientations, either vertically or diagonally, but rarely horizontally, provides the base for the sculptures and creates the formal tension.

Chadwick said that the triangle could be regarded as the simplest sketch of a human or animal figure, and that the whole body could be developed from this shape.

He himself stressed that all his works were based on the human figure. “I shall never neglect humanity. Even in my most abstract figure ‘The Pyramids’ I took man as a starting point. The stars can be seen as heads with a single eye and the pyramids can begin to suggest a figure or beast.”

Lynn Chadwick Although Chadwick is undeniably a modernist sculptor, he did not, unlike most early modernist pioneers, find his formal starting point in ethnic art or classical sculpture. Such references are rarely found in Chadwick’s work. His methods, his use of geometry, his emphasis on construction, have given rise to the idea that his sculptures could be regarded as related to 64

modernist architecture.

The object in this auction, “Pair of Sitting Figures” from 1972, is an exquisite example of Chadwick’s early 1970s output.

At this time, he had returned to his humanlike figures, after a period in the 1960s of ex-perimenting with more minimalist, abstract works and other techniques, including assemblage and objets trouvées.

In order to have total control over the completion of his sculptures, he built his own foundry at Lypiatt Park in 1971, and the piece in the auction is from that foundry.

During this period, he began using the schematic geometrical shapes of the triangle and rectangle as symbols for man and woman respectively, and this work plays on the relationship between them.

The pair express a distinct spatial presence, with a clear, frontal character. Chadwick never provided any explanations or interpretations for his sculptures. This left viewers free to exercise their imagination and let their associations wander around these mighty, enigmatic beings in their own, strange energy field. The Times’ critic de-scribed his sculptures in the following words: “The series of bronze figures imparts that feeling of something more than human, the secret and self-contained power of the idol, which is of the immemorial essence of sculpture.”

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287. LYNN CHADWICK England 1914-2003 “PAIR OF SITTING FIGURES” (d) A pair (2). Signed Chadwick and dated -72. Numbered 3/6 and marked 654 M (Masculine) and 654 F (Feminine). Foundry mark Lypiatt Foundry (England).

Bronze, dark patina. Height 57 (22 1/2 in.) and 61.5 cm (24 1/4 in.).

PROVENANCE Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (acquired from Lypiatt Foundry Ltd., England, October 1974).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

LITERATURE Henning Throne-Holst, ”Ur Marabous byggnadshistoria”, 1977, illustrated in photo, p. 41.

Ragnar von Holten, ”Art at Marabou”, 1990, illustrated and mentioned p. 10.

Dennis Farr and Éva Chadwick, ”Lynn Chadwick : sculptor : with a complete illustrated catalogue, 1947-1988”, 1990, compare with No 654.

OTHER Copy of receipt from Lypiatt Foundry Ltd enclosed Estimate: SEK 600 000 – 800 000 / EUR 69 700 – 92 950

FOR FURTHER INFORMATION OR TO PLACE A BID

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67

charles despiau “Apollon”

Charles Despiau was born in Mont-deMarsan in south-western France. At the age of 16, he was awarded a scholarship and left his hometown to study at the Écoles des Arts Décoratifs in Paris. Charles Despiau pursued his studies at the École des Beaux-Arts, where Auguste Rodin was one of the supervising professors. Classical studies did not appeal to him, however, since he did not consider anatomy to be of any significance to sculpture. He allegedly skipped certain classes in favour of visiting museums and exhibitions. As a student, Despiau became acquainted with other young sculptors, including Bourduelle and Camille Claudel, who belonged to the group “Les Jeunes Sculpteurs

Indépendents”. Charles Despiau exhibited his work repeatedly with this group until the early 1920s. One exhibition in particular, the 1907 Salon de la Societé Nationale des Beaux-Art, was to change his working conditions radically, since he was “discovered” by Auguste Rodin, who immediately recruited him as his assistant.

He continued to work for Auguste Rodin until 1914, when he was forced to go to war.

Later, Charles Despiau undertook numerous assignments, including a teaching position at L’Academie de la Grande Chaumière. He also taught for a short period at L’Academie Scandinave, an art school run by Swedish, Norwegian and Danish artists, including Otte Sköld and 68

Henrik Sörensen. Following a solo exhibition in 1930, he was commissioned to represent France at the Venice Biennale.

Charles Despiau was also awarded the most prestigious French order, the Legion of Honour. One of his less respectable assignments was a short period as the teacher of Arno Brecker, who would later become the official sculptor of Nazi Germany. Charles Despiau was also passionate about fashion and participated frequently in contemporary discussions about what clothes were suitable for portrayal in sculptures and statues.

Classical Greek draping was all very well, but it hardly reflected modern fashion trends. In his portrait sculptures, he

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Charles Despiau at his atelier.

therefore always depicted the current modes, and most of his early works are small figures portrayed in the latest styles of attire.

From the very beginning, Charles Despiau was a passionate, explorative sculptor, who could keep working for hours to achieve the desired result. His wife, Marie Despiau, and their circle of friends soon became accustomed to long sittings.

Charles Despiau achieved his greatest success as a portrait sculptor. He worked consistently in a realistic style, seeking to depict the model with the greatest possible veracity.

His busts are characterised by the peace and serenity his models exude, a trait that is certainly

evident in the sculpture in this auction.

Charles Despiau always worked in a classical spirit – the anatomical shapes should balance each other, and the sculpture should be as naturalistic as possible. This is particularly distinct in the sculpture of Apollo, which could serve as an example of his artistic legacy.

Commissioned by the French Government in 1936, it was intended to stand outside the MusÊe d’Art Moderne in Paris. It was to be cast in a monumental format, and sketches were made for a cast measuring 5-7 metres. Unfortunately, the sculpture was never completed, partly due to the war and partly because Charles Despiau failed to deliver the work in time. The sculpture in 70

the auction is thus a miniature original study. It reflects the Neo-Classicist ideals that prevailed in the 1930s, of which it is a beautiful example.

Charles Despiau is somewhat unique in early 20th century art. Despite his dislike of strict academicism, he was passionate about the classical ideals and, unlike other sculptors such as Maillol, never adopted any of the more modern styles. Charles Despiau was perhaps not the most revolutionary modernist, but he consistently followed his own path and eventually became a sought-after and popular sculptor. He was also highly prolific and left a vast number of sculptures, drawings, sketches, most of which are now

71

288. CHARLES DESPIAU France 1847-1946 “APOLLON” (d) Signed C. Despiau. Conceived in 1937. Foundry mark C. Valsuani cire perdue, Bronze.

Numbered 4/6. Bronze, dark patina. Height 116 cm (45 5/8 in.), total height including base 208 cm (81 7/8 in).

PROVENANCE Blanche’s Konstgalleri, Stockholm.

Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (acquired from the above in 1950).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

LITERATURE Nils Lindhagen and Alf Rolfsen, ”Konst hos Freia och Marabou”, 1955, mentioned and illustrated full page. ”Charles Despiau - sculptures et dessins”, Musee Rodin, 1974, listed under the year 1937 as begun and described and illustrated, no. 98.

Ragnar von Holten, ”Art at Marabou, a short guide”, 1974, illustrated and mentioned p. 19.

Ragnar von Holten, ”Art at Marabou”, 1990, illustrated and mentioned, p. 15.

OTHER Completed in 1946 by Paul Belmondo. Cast in 1947 in an edition of 7 by C. Valsuani, Paris.

Estimate: SEK 400 000 – 600 000 / EUR 46 500 – 69 700

FOR FURTHER INFORMATION OR TO PLACE A BID

72

73

A stone figure of Ganesha India, Karnataka, Hoysala period, 11/12th Century

Worshipped as the god of good luck and remover of obstacles, Ganesha, the elephantheaded son of Shiva and Parvati, is one of the most popular gods in the Hindu pantheon. The rotund body and short legs of this 11/12th-century sculpture of Ganesha typifies representations of the deity.

Ganesha’s elephant head, like his multiple arms, is a mark of his divine nature,

and various myths explain how he acquired it. One of the most popular is that Ganesha’s elephant head is the result of a quarrel between Shiva and Parvati.

Angered by Ganesha’s refusal – at Parvati’s behest – to let him see his wife while she was bathing, Shiva cut off Ganesha’s head, and Parvati was devastated with grief. In order to soothe her, Shiva replaced the 74

head with that of the first creature he saw, which hap-pened to be an elephant.

Elephants carry complex symbolism in the Indian cultural world. Because they are thought to resemble rain clouds in color and shape, they have long been associated with fertility and prosperity.

75

289. A stone figure of Ganesha India, Karnataka, Hoysala period, 11/12th Century The four-armed deity seated on a throne, against a richly decorated background, prabha, holding his goad, conch, up an axe, tusk, a lotus flower and a bowl of sweets.

Wearing beaded jewelry encircling his belly, having fan-like ears and topped by an elaborate headdress, backed by an aureole centered with a kirttimukha mask.

Height 84 cm (33 in.). Damages, wear.

PROVENANCE Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (acquired 21 December 1972 from Spink & Son Ltd, London for the sum of £5250, a copy of the reciept accompanies the lot).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

EXHIBITIONS Compare similar Sold at Christies, New York, 2011, from the The James and Marilynn Alsdorf Collection, Chicago. Auction 2510. Lot no 45.

Also Compare object no B68S4 at Asian Art Museum, San Franscisco.

LITERATURE Throne-Holst, ’Ur Marabous byggnadshitoria’, Stockholm 1977, illustrated and mentioned on page 64.

Ragnar von Holten, ’Art at Marabou’, Uddevalla 1990, illustrated and mentioned on page 41.

Comparative litterature: Pratapaditya Pal, A Collecting Odyssey: Indian, Himalayan and Southeast Asian Art from the James and Marilynn Alsdorf Collection, 1997, p. 57 and 286, cat. no. 64.

Estimate: SEK 500 000 – 700 000 / EUR 58 100 – 81 350

FOR FURTHER INFORMATION OR TO PLACE A BID

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77

gió pomodoro “Guscio II”

The Italian artist Gió Pomodoro’s works are found all over the world today. To the general public he is famous for the monumental outdoor sculptures that he made mainly towards the end of his life.

His major international breakthrough came in 1956, when he participated in the Venice Biennale.

Pomodoro was born in Orciano di Pesaro in 1930, where he completed his higher education at a technical college.

After moving to Milan in 1954, he exhibited his work together with his brother, Arnaldo, who is also a famous sculptor (see “Radar no 2” in the catalogue).

This multi-talented artist was not only a sculptor but also designed jewellery. His first tentative works, however, were clay reliefs made to be cast in metal. Eventually, this led to experiments with mixed materials, where wood, plaster and textiles were used in the first sketches to create fascinating forms that were then cast in metal for the final composition. In the course of his artistic career he tried using a wide variety of metals. His early works were made of materials such as lead, iron and copper, but also of precious metals

such as gold and silver.

His abstract works were exhibited in various places, including the Cardazzo galleries in Milan and Venice, legendary venues on the Italian 1950s and 60s contemporary art scene. At his very first exhibitions at Galleria Numero in Florence and Galleria Montenapoleone in Milan, the visitors’ curiosity was stirred by their encounter with his singular compositions.

In 1959, his work was featured at Documenta II in Kassel, Germany.

In the 1960s, Pomodoro created a number of sculptures with partially rounded, billowing surfaces, as in the current item in the catalogue “Guscio II” (also known as “Shell”) from 1966. By then, he was already established as a contemporary artist and belonged to the Italian avant-garde.

Characteristic of all Pomodoro’s works is his intention that they are linked, that there should be a sense of commonality.

Pomodoro has said: “Each of my works is tied to the previous and following one, even if this does not always happen in a linear route.” (From an interview in International Sculpture Center, Vol 21, no 3, 2002.)

78

Since the 1970s and onwards, he worked mainly in stone for his larger compositions, but bronze was the only metal he continued to use throughout his life.

There is a tension and energy in his works, which are often replete with symbolic significances, giving rise to contemplation. An inherent power, in both material and style, characterises most of his output throughout his prolific career.

“Surfaces under tension” became a recurring theme in his oeuvre from the later decades. His monumental outdoor works, which often consist of several parts in one and the same place, often verge on architecture, and he focused not only on the work itself but on the spaces in between and the entire setting, which were just as important to him.

The year he died, in 2002, Pomodoro was honoured with the International Sculpture Center’s Outstanding Achievement in Contemporary Sculpture Award, one of many prizes he attained for his innovative artistic creations. Today, his works are found in museums all over the world.

79

290. GIÓ POMODORO Italy 1930-1986 “GUSCIO II” (d) Signed GP and dated -66. Numbered 4/6. Cast in 1966. Bronze, gold patina.

Height 16 cm (6 1/4 in.), total height including wood base 19.5 cm (7 5/8 in.).

PROVENANCE Martha Jackson Gallery, New York.

Marabou Collection, Sundbyberg/Upplands-Väsby, Sweden (acquired from the above in 1970).

Kraft Foods Sverige AB, Upplands-Väsby, Sweden.

LITERATURE Ragnar von Holten, ”Art at Marabou”, 1990, illustrated and mentioned p. 38.

OTHER Copy of receipt from Martha Jackson Gallery, New York dated December 19, 1969 enclosed.

Estimate: SEK 15 000 – 20 000 / EUR 1 750 – 2 350

FOR FURTHER INFORMATION OR TO PLACE A BID

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81

register of signatures, stamps, labels, foundry marks etc.

82

280. GIACOMO MANZU “Busto di Emy”

278. FRANCOIS POMPON “Hibou”

281. ARISTIDE MAILLOL “Jeune fille agenouillée”

279. HENRI LAURENS “La Banderole”

83

284. JEAN ARP “Amphore de Muse”

283. AUGUSTE RODIN “L’enfant prodigue”

282. AUGUSTE RODIN “Le Penseur”

84

285. ARNALDO POMODORO “Radar No 2”

290. GIÓ POMODORO “Guscio II”

286. ERIC GRATE “Silvatica”

287. LYNN CHADWICK “Pair of sitting figures”

288. CHARLES DESPIAU “Apollon”

85

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Sebastian Taflin, Phone: +46 - 708 - 92 19 78. sebastian.taflin@bukowskis.com

Phone +41 - 79 - 415 44 71. asa.bittel@bukowskis.com

NORDVÄSTRA SKÅNE

Lotta Ehrenborg, 161 Rue du Journans Segny, FR-01170 Gex, France Phone +33 - 450 416 802. lotta.ehrenborg@bukowskis.com

Kerbela Nobel, Hallavara 7747, 269 91 Båstad, Sweden Phone +46 - 708 - 21 46 55. kerbela.nobel@bukowskis.com

USA

NORDÖSTRA SKÅNE

Elisabeth Halvarsson-Stapen, 888 Main Street apt. 1028, New York,

Elisabeth Wachtmeister, Wanås, 289 90 Knislinge, Sweden

NY 10044, USA

Phone +46 - 40 - 660 60 elisabeth.wachtmeister@bukowskis.com

Phone +1 - 212 - 759 - 2545. usa@bukowskis.com

HEAD OF PROJECT: ANNA-KARIN PUSIC GRAPHIC DESIGN: PATRICK WATERS FINAL ART: JAKOB BRUNDIN/KOBBEN DESIGN TEXT: PEDRO WESTERDAHL, LISA GARTZ, ANNA-KARIN PUSIC, LOVISA TÖRNSTEN, KARIN KVICKLUND, KARIN ARINGER AND GIOVANNA JÖRGENSEN. PHOTO: MARCUS BENGTSSON PRINT: ELANDERS FÄLTH & HÄSSLER

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