Designer chairs from the Lasse Åberg Collection
“A few years ago, at Åbergs Museum, we had the exhibition “Chair och galen” with iconic chairs. Due to space limitations, I have now decided that more people should be able to own and enjoy these unique chairs. Art’s fun!” – Lasse Åberg
Lars (Lasse) Åberg (b. 1940) is one of Sweden’s most popular multi-talented artists. Åberg is a major collector in many fields, and for this auction Bukowskis is pleased to present a number of objects from Åberg’s collection of designer chairs. Icons such as Eames, Breuer and Castiglioni are showcased alongside Sven Dalsgaard’s eye-catching and rare “Lammskinnsstol” from 1994 and American designer Danny Lane’s “Etruscan” chair in glass.
The collection comprises lots 33-37.
34. Danny Lane, an ‘Etruscan’ chair, his own studio, London, 1990.
33. Sven Dalsgaard, a ‘Lammskinnsstol’ chair, ed. 7, Källemo, Värnamo, 1994.
36. Achille & Pier Giacomo Castiglioni, a ‘Sella’ stool, Zanotta, Italy, post 1983.
33. Sven Dalsgaard (Denmark, 1914–1999) a “Lammskinnsstol” chair, ed. 7, Källemo, Värnamo, 1994. Iron frame, upholstered in lambskin, padded seat, signed SVEN DALSGAARD, metal manufacturer’s label LAMMSKINNSSTOL Sven Dalsgaard 1994 Limiterad upplaga 7 st KÄLLEMO AB. Height 101 cm, seat height 50 cm.
Provenance: Lasse Åberg Collection. Lars (Lasse) Åberg (b. 1940) is one of Sweden’s most popular multi-talented artists. Åberg is a major collector in many fields, and Bukowskis proudly presents a number of object from his collection of designer chairs.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
34. Danny Lane (USA, 1955–) an “Etruscan” chair, his own studio, London, 1990.
Seat and back in float glass, frame in steel, signed and dated Danny Lane 1990 7–42. Height 91 cm, seat height 46.5 cm.
Provenance: Lasse Åberg Collection. Lars (Lasse) Åberg (b. 1940) is one of Sweden’s most popular multi-talented artists. Åberg is a major collector in many fields, and Bukowskis proudly presents a number of object from his collection of designer chairs.
Literature: Charlotte & Peter Fiell, “1000 Chairs”, Taschen 2005, p. 527.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
35. Charles & Ray Eames (USA) a “RAR” rocking chair, Herman Miller, USA, 1964–78.
The seat in fiberglass-reinforced plastic, frame of metal, varnished wood runners, manufacturer’s mark HERMAN MILLER. Height 69 cm, seat height 40 cm.
Provenance: Lasse Åberg Collection. Lars (Lasse) Åberg (b. 1940) is one of Sweden’s most popular multi-talented artists. Åberg is a major collector in many fields, and Bukowskis proudly presents a number of object from his collection of designer chairs.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 370
36. Achille & Pier Giacomo Castiglioni (Italy) a “Sella” stool, Zanotta, Italy, post 1983.
Bicycle saddle in black leather, steel pole lacquered in pink, base in cast iron. Adjustable seat, height 80 cm.
Provenance: Lasse Åberg Collection. Lars (Lasse) Åberg (b. 1940) is one of Sweden’s most popular multi-talented artists. Åberg is a major collector in many fields, and Bukowskis proudly presents a number of object from his collection of designer chairs.
Estimate: SEK 6 000 – 8 000 / EUR 550 – 730
37. Marcel Breuer (Hungary, 1902–1981) a chaise longue model “F41”, Tecta, Germany, post 1984.
Frame in tubular steel, on wheels, upholstered in black leather. Length 188 cm, width 66 cm, height 63 cm.
Provenance: Lasse Åberg Collection. Lars (Lasse) Åberg (b. 1940) is one of Sweden’s most popular multitalented artists. Åberg is a major collector in many fields, and Bukowskis proudly presents a number of object from his collection of designer chairs.
Estimate: SEK 6 000 – 8 000 / EUR 550 – 730
38. Jacques Duval-Brasseur (France, 1934–2021) a coffee table, France, 1970s.
Base in the shape of branches in cast bronze, glass top, signed JD Brasseur. Height 55 cm, top dimensions 130 x 80 cm.
Provenance: A Swedish family living in Switzerland, reportedly acquired ca 1977–79. Thence by decent within the family.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
39. Jacques Duval Brasseur (France, 1934–2021) a bronze and coral sculpture of three mushrooms, France, 1970s.
Three mushrooms in bronze and coral, signed JD Brasseur. Height 37 cm.
Provenance: A Swedish family living in Switzerland, reportedly acquired ca 1977–79.
Thence by decent within the family.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
40. Jacques Duval Brasseur (France, 1934–2021) a bronze sculpture of a snail with shell, France, 1970s.
Signed JD Brasseur. Length 21 cm, height 11.5 cm.
Provenance: A Swedish family living in Switzerland, reportedly acquired ca 1977–79. Thence by decent within the family.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910
41. Philippe Starck (France, 1949–) a “Dr Sonderbar” armchair, XO, France, post 1983.
Base in chrome-plated steel with perforated seat, marked XO. Seat height 39 cm, width 90 cm, height 63 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
42. Albert Féraud (France, 1921–2008) a unique coffee table, France, 1970s.
Base of sculpted steel, signed A Féraud. Height 40 cm, oval glass top 148 x 91 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
43. Mario Bellini (Italy, 1935–) a “Camaleonda” sofa, B&B Italia, Italy, 1970s. Six modules including one footstool, MDF and polyurethane frame, upholstered in green chenille, manufacturer’s label B&B ITALIA Novedrate, Como sistema CAMALEONDA designer M. BELLINI modelle depositato collaudo. Five modules depth 95 cm, width 95 cm, height 65 cm and one footstool length 95 cm, width 95 cm, height 38 cm. Total length 380 cm. Original hang tag included.
Provenance: Acquired in the early 1970s in Düsseldorf by the first owner.
Estimate: SEK 160 000 – 180 000 / EUR 14 520 – 16 340
44. Enzo Testa (Italy) a specially commissioned bookshelf, Italy, 1968.
Modular system with a base in pine, six glass shelves. Height 147 cm, width 162 cm, depth 44.5 cm.
Provenance: Reportedly executed for a residential commission in Bergamo, Italy in 1968.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370
45. Romeo Rega (Italy, 1925–1984) a “Skyscraper” table lamp, Romeo Rega, Italy, 1970s.
Brass, marked Romeo Rega MADE IN ITALY. Height including shade 79 cm.
Provenance: Private Collection, Sweden.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
46. Enzo Berti (Italy, 1950–) a “Dune” coffee table, La Palma, Italy, post 1996.
Powder coated metal frame on wheels, glass top, filled with fine-grained sand with an accompanying rake in ash wood, manufacturer’s label lapalma. Length 120 cm, width 120 cm, height 45.5 cm.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
47. Arik Levy (Israel, 1963–) a rare “Thing” telescopic light, Snowcrash, ca 1999.
Aluminium, adjustable in four lengths, marked SNOWCRASH.SE. Length ca 116–360 cm.
Estimate: SEK 4 000 – 6 000 / EUR 370 – 550
48. Frederick John Kiesler (Austria, 1896–1965) a “Party Lounge” sofa, Wittmann Möbelwerkstätten, Austria, 2014. Wooden frame upholstered in black leather, on a metal base with lockable wheels, adjustable backrest, manufacturer’s metal label HANDCRAFTED BY WITTMANN AUSTRIA and dated 2014. Length 204 cm, depth 127 cm, and adjustable height on the backrest. Seat height 43 cm.
Exhibitions: Tensta konsthall, Stockholm, “Frederick Kiesler: Visions at Work”, 11 February2 May 2015.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540
50. Frederick John Kiesler, a “Correalist Instrument” chair, Wittmann Möbelwerkstätten, Austria, post 2002.
49. Frederick John Kiesler, a “Correalist Instrument” chair, Wittmann Möbelwerkstätten, Austria, post 2002.
51. Frederick John Kiesler, a “Correalist Rocker” chair, Wittmann Möbelwerkstätten, Austria, post 2002.
49. Frederick John Kiesler (Austria, 1896–1965) a “Correalist Instrument” chair, Wittmann Möbelwerkstätten, Austria, post 2002.
Black-stained ash, linoleum. Length 104 cm, width 40 cm, height 85 cm.
Exhibitions: Tensta konsthall, Stockholm, “Frederick Kiesler: Visions at Work”, 11 February - 2 May 2015.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
50. Frederick John Kiesler (Austria, 1896–1965) a “Correalist Instrument” chair, Wittmann Möbelwerkstätten, Austria, post 2002.
Ash, linoleum. Length 104 cm, width 40 cm, height 85 cm.
Exhibitions: Tensta konsthall, Stockholm, “Frederick Kiesler: Visions at Work” 11 February - 2 May 2015.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
51. Frederick John Kiesler (Austria, 1896–1965) a “Correalist Rocker” chair, Wittmann Möbelwerkstätten, Austria, post 2002.
Black-stained ash, linoleum. Length 80 cm, width 40 cm, height 73 cm.
Exhibitions: Tensta konsthall, Stockholm, “Frederick Kiesler: Visions at Work”, 11 February - 2 May 2015.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
52. Verner Panton (Denmark, 1926–1998) a “Fun Metal 1 DA” chandelier, J. Lüber, Switzerland, 1960s-70s.
Frame of metal, round pendants in chrome-plated metal and lacquered in purple, one light source. Diameter 40, height 64 cm (excluding cord).
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
53. Valérie Doubroucinskis (France) a “Totem” shelf, Rodier, France, 1970s.
Red glass reinforced plastic. Height 208 cm, width 29 cm.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910
54. Wilhelm Vest (Austria) a “Dynamic” ceiling lamp, Vest Leuchten, Austria, 1960s.
Metal lacquered in shades of blue, red, and yellow, manufacturer’s label West Made in Austria. Height of the shade 26 cm, diameter 46 cm.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
57. Ettore Sottsass, an “Ultrafragola” mirror, Poltronova, Italy, 21st century.
40. Jacques Duval Brasseur, a bronze sculpture of a snail with shell, France, 1970s.
39. Jacques Duval Brasseur, a bronze and coral sculpture of three mushrooms, France, 1970s.
55. Massimo Iosa Ghini (Italy, 1959–) a “Notorious Chair”, Moroso, Italy, 1980s.
Frame in chrome-plated steeltubes, seat in blue Alcantara, backrest in oak.
Seat height 47 cm, height 82 cm.
Literature: Jerryll Habegger & Joseph H. Osman, “Sourcebook of Modern Furniture”, W.W. Norton & Co., 2004, p. 225.
Estimate: SEK 4 000 – 6 000 / EUR 370 – 550
56. Mario Botta (Switzerland, 1943–) a “Zefiro” ceiling lamp, Artemide, Italy, 1980s.
Metal frame lacquered in black, shade in white lacquered and perforated metal, one light socket, manufacturer’s mark Artemide. Height 107 cm, width 94 cm.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
57. Ettore Sottsass (Italy, 1917–2007) an “Ultrafragola” mirror, Poltronova, Italy, 21st century.
Acrylic front, mirror glass, pink internal lighting, metal manufacturer’s label centro studi poltronova ultrafragola ettore sottsass. Height 195 cm, width 100 cm.
Provenance: Private Collection, Sweden.
Estimate: SEK 50 000 – 75 000 / EUR 4 540 – 6 810
34. Danny Lane, an “Etruscan” chair, London, 1990. 519. Andy Warhol, ‘Mick Jagger’.
58. Ettore Sottsass, a “Carlton” bookcase, Memphis, Italy, post 1981.
58. Ettore Sottsass (Italy, 1917–2007) a “Carlton” bookcase, Memphis, Italy, post 1981.
Polychrome and patterned HPL laminate, with two drawers, manufacturer’s label MEMPHIS MILANO ETTORE SOTTSASS 1981, N. 787 MADE IN ITALY. Height 198 cm, width 190 cm.
Estimate: SEK 75 000 – 100 000 / EUR 6 810 – 9 080
59. Ettore Sottsass (Italy, 1917–2007) a “Tahiti” table lamp, Memphis, Italy, post 1981.
Base in “Bacterio” patterned laminate, polychrome enamelled metal, adjustable shade with one light socket, manufacturer’s label Memphis Milano Ettore Sottsass 1981 Made in Italy. Height 66–71 cm.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 370
60. Ettore Sottsass (Italy, 1917–2007) & David Kelley, an “Enorme” telephone, Enorme Corporation, Italy, post 1986. Black, red, and yellow ABS plastic, marked ENORME Designed in Italy by Ettore Sottsass Serial No 02929. Height ca 6 cm, 20 x 10 cm.
Original instruction manual included.
Estimate: SEK 3 000 – 4 000 / EUR 280 – 370
61. George Sowden (Great Britain, 1942–) a “Palace Chair”, Memphis, Italy, post 1983.
Polychrome lacquered wood, manufacturer’s label George Sowden Memphis Milano. Seat height 45 cm, height 87 cm.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910
62. Guido Drocco & Franco Mello (Italy) an “Another Green Cactus” coat hanger/sculpture, Gufram, Italy, post 2018.
Polyurethane foam lacquered in green, marked MULTIPLI ‘18 ANOTHER GREEN Gufram. Height 170 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
63. Piero Fornasetti (Italy, 1913–1988) & Anne Lux, a “Silviasub” chair, Fornasetti, Milan, 2019.
Base in birch plywood, lacquered in black with silkscreen printed decoration in yellow from the “Tema e Variazioni” series, manufacturer’s stamp Fornasetti Milano Made in Italy N1di3 2019. Seat height 47 cm, height 96 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
64. Piero Fornasetti (Italy, 1913–1988) & Anne Lux, a “Lux Gstaad” chair, Fornasetti, Milan, 2018.
Base in birch plywood, hand-painted and silkscreen printed decoration in turqoise and red from the “Tema e Variazioni” series, manufacturer’s stamp Fornasetti Milano Made in Italy N30li5 2018. Seat height 47 cm, height 96 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
65. Piero Fornasetti (Italy, 1913–1988) an “Ultime Notizie” table, Fornasetti, Milan, 2019.
Frame in wood with silkscreen printed decoration, base in metal, manufacturer’s stamp Fornasetti Milano Made in Italy N1Di3 2019. Height 75 cm, diameter 100 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
68. Jonas Bohlin, a ‘Sto’ chair, ed. 4/70, Jonas Bohlin Design AB, Stockholm, post 1990.
1. Mårten Medbo, a stoneware sculpture/vase, ‘Crowd’, 2016.
29. Nick Ross, an ‘Arrangement #16’ coffe table/bench, Stockholm, 2024.
66. Per Söderberg (Sweden, 1968–) a “NEB Dining Table”, No Early Birds, Stockholm, 2022.
Table top in Grigio Carnico marble, base of black lacquered steel.
Height 73 cm, length 230 cm, width 100 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730
67. Jonas Bohlin (Sweden, 1953–) a set of 12 “Point” chairs, Källemo, Värnamo, post 1985.
Black lacquered steel base, seat and back covered in black leather, one with manufacturer’s label. Height 78 cm, seat height 46 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730
68. Jonas Bohlin (Sweden, 1953–) a “Sto” chair, ed. 4/70, Jonas Bohlin Design AB, Stockholm, post 1990. Iron and oak, signed and numbered STO 4/70 j BoHLiN 1990.
Depth 52.5 cm, width 31.5 cm, height 94.5 cm, seat height 48 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
71. Jonas Bohlin, a “Norrsken” ceiling lamp, ed. 22/29, Örsjö Belysning, Sweden, 2016.
69. Jonas Bohlin (Sweden, 1953–) a “Kroppar” floor lamp, ed. 2/9, his own studio, Stockholm, 2019.
Shade of parchment on a three-legged base in black steel, signed and numbered j. BoHLiN LIMITED EDITION 2/9. Height 124.5 cm.
Exhibitions: Galleri Sebastian Schildt, Stockholm, “Kroppar”, 2–23 February 2019. All nine numbered “Kroppar” lamps were made for the exhibition in 2019 and are unique in how the parchments are draped around the steel frame.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090 (d)
70. Jonas Bohlin (Sweden, 1953–) a “Concrete”/“(In)visible Dialogues” armchair, ed. 41/100, Källemo, Värnamo, 2011.
Steel and wood lacquered in a fluorescent paint, manufacturer’s label Källemo, signed and numbered 41/100. Seat height 45 cm, back height 89,5 cm.
Provenance: Konstakademien, Stockholm, “(In)visible Dialogues”, 26 February - 3 April 2011.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090 (d)
71. Jonas Bohlin (Sweden, 1953–) a “Norrsken” ceiling lamp, ed. 22/29, Örsjö Belysning, Sweden, 2016.
Metal tubes, painted in ultramarine blue, 24 adjustable light points in brass, metal manufacturer’s label Örsjö No 22/29 J. BoHLiN 2016. Length ca 220 cm, height ca 45 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
72. Jonas Bohlin (Sweden, 1953–) a set of four “Vilda 5” chairs, Gemla, Diö, 2012, specially commissioned for Taverna Brillo. Lacquered frame in burgundy, seat and back in leather, manufacturer’s stamp j. BoHLiN gemla. Height 89,5 cm, seat height 46,5 cm.
Provenance: Restaurant Taverna Brillo, Stockholm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
73. John Kandell (Sweden, 1925–1991) a unique wall cabinet, executed by cabinet maker Lars Larsson, 1981. Pear wood, the front with relief decoration, interior with a drawer and shelves, stamped with date Lars Larsson 1981. Height 102 cm, total width 32 cm, depth 23 cm.
Exhibitions: Norrköpings konstmuseum, “Trä och Textil”, 1983.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
74. Peter Celsing (Sweden, 1920–1974) a set of 16 “Band” wall lamps, Fagerhult, 1960s-70s. Brass, manufacturer’s mark Fagerhult. 20 x 20 cm, depth ca 16 cm from the wall.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
75. John Kandell (Sweden, 1925–1991) a set of six “Solitär” chairs, Källemo, Värnamo, post 1985.
Base in mahogany, leather seats. Seat height 46 cm, height 90 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540
76. John Kandell (Sweden, 1925–1991) a set of four “Solitär” chairs, Källemo, Värnamo, post 1985.
Base in mahogany, leather seats. Seat height 46 cm, height 90 cm.
Estimate: SEK 30 000 – 35 000 / EUR 2 730 – 3 180
77. Per Öberg (Sweden, 1954–) a table, Per Öberg Arkitekt AB, Stockholm, 1991.
Wooden base, completely covered in calfskin by bookbinder Botho Schröder.
Height 70 cm, length 200 cm, width 100 cm.
Literature: Magazine, “Sköna hem”, no. 1, 1992, the present table illustrated.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 370
78. Ernst Billgren (Sweden, 1957–) “Frusna vänner” (Frozen friends), a glass sculpture, Berengo Studio, Murano, Italy, 1999.
Signed E. Billgren and numbered H.C. Height 31 cm.
Exhibitions: Liljevalchs konsthall, Stockholm, “Andrum”, 2000, a copy of “Frusna vänner” was exhibited.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
79. Ernst Billgren (Sweden, 1957–) “I trädkronan” (In the treetop), a patinated bronze urn, ed. 4/100, 2002.
Relief decoration of animal heads and branches with oak leaves and acorns, handles, signed and numbered EB 4/100. Height ca 45.5 cm.
Provenance: Lars Bohman Gallery, Stockholm. According to information from the artist, only about 40 copies of the original edition of 100 were produced.
Estimate: SEK 35 000 – 40 000 / EUR 3 180 – 3 630 (d)
80. Ernst Billgren (Sweden, 1957–) ”I trädkronan” (In the treetop), a patinated bronze urn, ed. 8/100, 2002.
Relief decoration of animal heads and branches with oak leaves and acorns, handles, marked on the underside 8/100 EB. Height ca 45.5 cm.
Provenance: Lars Bohman Gallery, Stockholm. According to information from the artist, only about 40 copies of the original edition of 100 were produced.
Estimate: SEK 35 000 – 40 000 / EUR 3 180 – 3 630 (d)
81. Jonas Rooth, a glass chandelier, Kivik, 1990s.
81. Jonas Rooth (Sweden, 1961–) a glass chandelier, Kivik, 1990s. Polychrome, decorated with flowers and leaves, five candle arms, signed Jonas Rooth #9879 3/7. Height 74 cm, diameter 52 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
83. Michael Anastassiades (Cyprus, 1967–) a “Mobile Chandelier 9” ceiling lamp, Michael Anastassiades, London, post 2015. Black patinated brass, mouth-blown opal glass, manufacturer’s label MOBILE CHANDELIER SERIAL NO: 000584. Height 270 cm, width 145 cm.
Estimate: SEK 75 000 – 100 000 / EUR 6 810 – 9 080
84. Patricia Urquiola (Spain, 1961–) a “Tufty-Time” sofa, B&B Italia, Italy, post 2005.
Five modules including two footstools, steel and foam frame, upholstered in pale coloured corduroy, manufacturer’s label. Three modules depth 108 cm, width 100 cm, height 60 cm, two footstools length 100 cm, width 66 cm, height 34 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
85. Pierre Paulin (France, 1927–2009) a pair of “Orange Slice” easy chairs model “F437”, Artifort, Netherlands.
Base in black lacquered metal, upholstered seat and back in grey bouclé with green accents, manufacturer’s label Artifort. Height 70 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
86. Pietro Chiesa (Italy, 1892–1948) a pair of “Luminator” floor lamps, Fontana Arte, Italy, 2017. Stainless steel, manufacturer’s label Fontana Arte Made in Italy. Height 184 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
87. Maarten Baas (Netherlands, 1978–) a set of six “Smoke Dining Chair”, Moooi, Netherlands, post 2002.
Burnt solid wood, seats in black leather, manufacturer’s metal label Smoke Furniture - design by Maarten Baas Moooi. Varying height ca 97–104 cm, seat height 51 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540
88. Maarten Baas (Netherlands, 1978–) a set of eight “Smoke Dining Chair”, Moooi, Netherlands, post 2002.
Burnt solid wood, seats in black leather, manufacturer’s metal label Smoke Furniture - design by Maarten Baas Moooi. Varying height ca 97–104 cm, seat height 51 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 540 – 5 450
89. Per Söderberg (Sweden, 1968–) a “PS Bespoke Rectangular Glass Table”, No Early Birds, Stockholm, 2020.
Base in walnut covered in zinc sheet, supports in metal tubes, top in tempered glass, manufacturer’s mark Per Söderberg No Early Birds Made in Sweden. Height 73 cm, length 260 cm, width 120 cm.
Exhibitions: Jackson Design, Stockholm, “Delightful Encounters” - No Early Birds 10th Anniversary, Stockholm Design Week 2020.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730
89A. Borek Sipek, a “Simon” candelabra, Driade, Italy, post 1989. Gilded metal, seven candle arms, manufacturer’s stamp Driade. Height 47 cm.
Estimate: SEK 4 000 – 5 000 / EUR 374–561
91. Boca Do Lobo (Portugal) an “Eden” coffee table, post 2005.
Cast brass, irregular shape with relief decoration of a tree trunk. Height 29 cm, width ca 115 cm, depth ca 80 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
90. Lindsey Adelman (USA, 1968–) an “Agnes Chandelier 14” ceiling lamp, Roll and Hill, USA, post 2010.
Brass, adjustable arms, 14 light sockets with profiled shades in white opal glass. Height ca 55 cm, width ca 86 cm, length 184 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 540 – 5 450
92. Peter Hermansson (Sweden, 1975–) “The Bad Hug”, a unique glass vase in graal technique, BODABULLET, 2015.
Decoration of black-and-white figures against a multicoloured background and the text “END!”, engraved signature: “Peter Hermansson BODABULLET 2015, Glassblower: Bjørn Friborg”. Height ca 52 cm.
Provenance: Purchased directly from the artist in 2015.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
93. Peter Hermansson (Sweden, 1975–) “Body Electric”, a unique glass vase/sculpture in graal technique, Örsjö, Sweden, 21st century.
Decoration of figures in black and white against red and green, etc., engraved signature Peter Hermansson Glassblower: Micke Johansson ÖRSJÖ. Height ca 46 cm.
Provenance: Purchased directly from the artist in 2015.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
94. Peter Hermansson (Sweden, 1975–) “Eat the Rich”, a unique glass vase in graal technique, Sweden, 2009.
Decoration of black-and-white figures against a multicoloured background and with the text: “Riv skiten, eat the Rich!!”, engraved signature: “design: Peter Hermansson, glassblower: Micke Johansson 2009” and an engraved eye. Height ca. 55 cm.
Provenance: Purchased directly from the artist in 2015.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
95. Peter Hermansson (Sweden, 1975–) “The Search”, a unique lidded glass goblet in graal technique, AKTAS Artglass, Sweden 2010.
Decoration of black-and-white figures against red, engraved signature: “20 AKTAS Art Glass 10 Goblet No. 6 Unique”, the lid engraved “No. 6”. Height 46 cm.
Provenance: Purchased directly from the artist in 2015.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
96. Bengt Lindström (Sweden, 1925–2008) a “Head I” sculpture, ed. 1/8, Berengo Studio, Murano, Italy.
Multicoloured glass, signed Lindström 1/8. Height 55 cm, including stand.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
97. Hilma af Klint (Sweden, 1862–1944) a carpet, ‘Group III, no 5, The Large Figure Paintings’, 23/30, hand tufted, c 200 x 160 cm. Produced by Asplund in collaboration with the Hilma af Klint Foundation. Hand tufted in India around 2019. Edition of 30.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730
98. Mats Theselius, an “Aluminiumfåtölj” armchair, ed. 18–50/200, Källemo, Värnamo, post 1990.
98. Mats Theselius (Sweden, 1956–) an “Aluminiumfåtölj” armchair, ed. 18–50/200, Källemo, Värnamo, post 1990.
Aluminium-clad wooden frame, armrest of laminated beech, seat and back upholstered in birch bark, manufacturer’s metal label with numbering ALUMINIUM FÅTÖLJ No: 18–50/200 MATS THESELIUS 1990 KÄLLEMO AB. Height 73 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
99. Mats Theselius (Sweden, 1956–) an “Älgskinnsfåtöljen” armchair, ed. 260/360, Källemo, Värnamo, post 1991.
Etched sheet iron, beech wood, seat upholsterd with elk leather, marked ÄLGSKINNSFÅTÖLJ MATS THESELIUS 1991 260/360 KÄLLEMO SWEDEN. Height 78 cm, seat height ca 47 cm.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350 (d)
100. Mats Theselius (Sweden, 1956–) an “Älgskinnsfåtöljen” armchair, ed. 303/360, Källemo, Värnamo, post 1991.
Etched sheet iron, beech wood, seat upholsterd with elk leather, marked ÄLGSKINNSFÅTÖLJ MATS THESELIUS 1991 303/360 KÄLLEMO SWEDEN. Height 78 cm, seat height ca 47 cm.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350 (d)
102. Mats Theselius (Sweden, 1956–) an “Hommage à Sigurd Lewerentz” armchair, ed. 62/123, Källemo, Värnamo, post 2012.
Patinated copper, ebony and steel frame, woven textile, maker’s mark HOMMAGE A SIGURD LEWERENTZ MATS THESELIUS NO 62/123 KÄLLEMO SWEDEN 2012.
Height 74 cm, seat height 40 cm.
Estimate: SEK 75 000 – 100 000 / EUR 6 810 – 9 080 (d)
101. Mats Theselius (Sweden, 1956–) a “Canapé”, ed. 16/35, Källemo, Värnamo, post 1994.
Ferrari red lacquer, red leather upholstery, cherry lacquered frame, numbered 16/200(35). Length 135 cm, depth 60 cm, height 75 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
103. Mats Theselius (Sweden, 1956–) a set of two “Aluminiumfåtölj” armchairs, Källemo, Värnamo, post 1990. Aluminium-clad wooden frame, armrest of laminated walnut, seat and back upholstered in black leather, manufacturer’s label KÄLLEMO by Mats Theselius Made in Sweden. Height 73 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540
98. Mats Theselius, an “Aluminiumfåtölj” armchair, ed. 18–50/200, Källemo, Värnamo, post 1990.
109. Mats Theselius, a “Järn/Moccafåtöljen” armchair, ed. 217/360, Källemo, Värnamo, post 1994.
104. Mats Theselius, a specially commissioned pair of “Aluminiumfåtölj” armchairs, Källemo, Värnamo, 2014.
105. Mats Theselius (Sweden, 1956–) an “El Rey” armchair, ed. HC 3/18, Källemo, Värnamo, post 1999.
Solid brass, wooden seat covered with crocodile embossed Tärnsjö leather, signed and numbered el Rey by Mats Theselius 1999 No: /360 copies for Källemo HC 3/18, Sweden. Seat height 32–36, height 68 cm.
Estimate: SEK 75 000 – 100 000 / EUR 6 810 – 9 080 (d)
104. Mats Theselius (Sweden, 1956–) a specially commissioned pair of “Aluminiumfåtölj” armchairs, Källemo, Värnamo, 2014.
Aluminium-clad wooden frame, armrest of laminated blackstained beech, seat and back upholstered in leather in red tones, manufacturer’s metal label MT 2014 and paper label KÄLLEMO by Mats Theselius Made in Sweden, as well as numbered 1/2 and 2/2 respectively. Height 73 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 540 – 5 450 (d)
106. Mats Theselius (Sweden, 1956–) an “El Rey” armchair, ed. HC 4/18, Källemo, Värnamo, post 1999.
Solid brass, wooden seat covered with crocodile embossed Tärnsjö leather, signed and numbered el Rey by Mats Theselius 1999 No: /360 copies for Källemo HC 4/18, Sweden. Seat height 32–36, height 70.5 cm.
Estimate: SEK 75 000 – 100 000 / EUR 6 810 – 9 080 (d)
107. Mats Theselius (Sweden, 1956–) a specially commissioned “El Rey” table, Källemo, Värnamo, post 1999.
Frame in solid brass, table tops covered with crocodile-embossed Tärnsjö leather. Height 56 cm, diameter of the upper table top 60 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
108. Mats Theselius (Sweden, 1956–) a “Järn/Moccafåtöljen” armchair, ed. 65/360, Källemo, Värnamo, post 1994.
Wooden frame covered with etched iron sheet, stained beech armrest, seat and back upholstered in dark brown suede, iron legs, labeled with metal tag JÄRN/MOCCA FÅTÖLJEN Mats Theselius No 65/360 KÄLLEMO AB VÄRNAMO SWEDEN. Height 73.5 cm.
Exhibitions: Exhibited by Källemo in Fredrikstad, Norway.
Literature: Dan Gordan, “Svenska stolar och deras formgivare”, Norstedts 2014, p. 304.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
109. Mats Theselius (Sweden, 1956–) a “Järn/Moccafåtöljen” armchair, ed. 217/360, Källemo, Värnamo, post 1994.
Wooden frame covered with etched iron sheet, stained beech armrest, seat and back upholstered in dark brown suede, iron legs, labeled with metal tag JÄRN/MOCCA FÅTÖLJEN Mats Theselius No 217/360 KÄLLEMO AB VÄRNAMO SWEDEN.
Height 73.5 cm.
Literature: Dan Gordan, “Svenska stolar och deras formgivare”, Norstedts 2014, p. 304.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
110. Robert Indiana (USA, 1928–2018) a carpet, “German love”, Chosen love. Hand tufted in 1995 in an edition of 282/300, c. 183 x 183 cm
A cut design and signature in relief. A signed label at the back. The design LOVE was created by Robert Indiana in the 1960’s.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
111. Olle Bærtling (Sweden, 1911–1981) a carpet, “Erey”, hand tufted, Baertling/ Asplund, ca 201 x 101 cm.
A design in green, red and black by Olle Baertling. The carpet is produced by Asplund in connection with the Baertling-stiftelsen (the Baertling-foundation) after a painting. It is tufted in India around 1999. “Erey” is produced in 50 examples. A label at the back.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
112. Thomas Sandell (Sweden, 1959–) a “Bröllopsskåp” wall cabinet, ed. 78/200, Asplund, Stockholm, post 1990.
Red stained oak, the door of lead, signed Bröllopsskåp Thomas Sandell and numbered 78/200. Height 58 cm, width 20 cm, depth 24 cm.
Estimate: SEK 4 000 – 6 000 / EUR 370 – 550 (d)
113. Thomas Sandell (Sweden, 1959–) a “Bröllopsskåp” wall cabinet, ed. 196/200, Asplund, Stockholm, post 1990.
Black stained oak, the door of led, signed Bröllopsskåp Thomas Sandell and numbered 196/200. Height 58 cm, width 20 cm, depth 24 cm.
Estimate: SEK 4 000 – 6 000 / EUR 370 – 550 (d)
114. Per Öberg (Sweden, 1954–) a “Jeanette” coffee table, ed. 10, Ambolt Smide for Interiör Plus, Stockholm, post 1993.
Zinc-treated steel, round tabletop with perforation. Height 50 cm, diameter 110 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
115. Eero Aarnio (Finland, 1932–) a hanging “Bubble Chair”, Eero Aarnio Originals, Finland, post 2016.
Acrylic, stainless steel tube, two loose cushions upholstered in silver-coloured leather, manufacturer’s label EERO AARNIO ORIGINALS. Diameter 104 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
116. Charles & Ray Eames, an “FSW-6” folding screen, Vitra for Herman Miller, post 1946.
116. Charles & Ray Eames (USA) an “FSW-6” folding screen, Vitra for Herman Miller, post 1946.
Six panels in oak plywood, joints in textile, manufacturer’s label herman miller made by vitra. Height 173 cm, total width ca 140 cm.
Provenance: Private Collection, Sweden.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730
117. Charles & Ray Eames (USA) a molded plywood leg splint model “S2–1790” with original packaging, Evans Products, USA, 1940s.
Stamped EVANS PRODUCTS COMPANY MOLDED PLYWOOD DIVISION LOS ANGELES CALIFORNIA and model number S2–1790, paper manufacturer’s label to factory packaging. Length 108 cm.
Provenance: Acquired by the present owner ca 2000 in an antique shop in Dallas, Texas.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910
118. Isamu Noguchi (USA, 1904–1998) an “Akari UF1-H” table lamp, Japan, 1980s.
Base in black lacquered metal, shade in washi paper, marked Isamu Noguchi with monogram and labelled Akari. Height 74 cm.
Estimate: SEK 5 000 – 6 000 / EUR 460 – 550
119. Carl Johan De Geer (Sweden, 1938–) a carpet, “Monster Subtil”, hand tufted, c 242 x 162 cm, signed and numbered 1/25.
In New Zealand wool. The original pattern was composed by Carl Johan De Geer in 1986.Carl Johan De Geer, the visionary artist and author, seized his daughter’s plastic toys in a burst of inspiration. With a mix of creative joy and a dose of eccentricity, he began to arrange and combine these small figures to draw a world of surreal patterns. The toys, with their colourful surfaces and enticing shapes, became the building blocks for Carl Johan De Geer’s artistic creation. He crafted a lively dance among the various plastic creatures, liberated by their inherent playfulness. With each movement and every arranged position, a new monster emerged - a monster that was a tribute to the absurd and the grotesque.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
120. Willy Rizzo (Italy, 1928–2013) a sideboard, Mario Sabbot, Italy, 1970s.
Base in black lacquered wood, details in chrome-plated metal, the front with two drawers and two cabinets, interior with shelves, marked Madi in Italy. Height 75.5 cm, width 120 cm, depth 47 cm.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
121. Willy Rizzo (Italy, 1928–2013) an “Alpha” sideboard, Mario Sabbot, Italy, 1970s.
Grey-tinted glass, details in chrome-plated metal, door pair, interior with shelves. Height 81 cm, width 95 cm, depth 42 cm.
Assembly instructions included.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910
122. Jan Bocan, a pair of easy chairs, Thonet, executed for the Czechoslovakian Embassy, Stockholm, 1972.
122. Jan Bocan (Czech Republic, 1937–2010) a pair of easy chairs, Thonet, executed for the Czechoslovakian Embassy, Stockholm, 1972. Base in black lacquered wood, later seat in textile, back and sides in rattan, markings from the embassy. Seat height ca 40 cm, height 71 cm.
Provenance: The Czechoslovakian Embassy, Stockholm. Jan Bocan was a professor at the Technical University in Prague. At the age of thirty, he won the architectural competition for the new Czechoslovak Embassy in Stockholm. This was his first major assignment. The embassy was a total work of art with all interiors, textiles and furniture designed by Bocan. It was designed and built between 1968–70 and opened in 1972.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
123. Virgil Abloh (USA, 1980–2021) a carpet, ‘kvitto’ (‘Receipt’), IKEA x Virgil Abloh, the ‘MARKERAD’ collection, c 200 x 90 cm.
Designed in 2019.
Estimate: SEK 4 000 – 5 000 / EUR 370 – 460
124. Philippe Nigro (France, 1975–) a “Promenade” sofa, Gebrüder Thonet Vienna, post 2017.
Walnut and rattan, seat, back and cushions upholstered in a blue fabric, metal manufacturer’s label WIENER GTV DESIGN. Length 230 cm, depth 90 cm, height 69 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730
125. Carl Johan De Geer (Sweden, 1938–) a carpet, ‘Drakar, Oriental’, hand tufted, c 240 x 160 cm, signed and numbered 14.
In New Zealand wool. De Geer derives his inspiration from Hergé’s Adventures of Tintin in the book “The Blue Lotus,” the dragons are used as a metaphor for Chinese culture. The struggle of the older generations against the malevolent forces in society and the challenges that society faced during the 1930s are also depicted in the pattern.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
126. Mårten Cyrén (Sweden, 1958–) a pair of “Storängen” chairs, Storängen Design, Sweden, post 2017.
Black lacquered wood, oval seat with a high slatted backrest. Seat height 45, width 76, height 134 cm. Textile-cushions included.
Estimate: SEK 10 000–12 000 / EUR 935 - 1 120
127. Attila Suta (Sweden, 1976–) a chest of drawers, executed in his own studio, Stockholm, 2021.
Base in walnut, upper section with two drawers in black lacquered wood, the front with relief decoration, details in brass. Height 80 cm, width 89.5 cm, depth 40 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
127A. Attila Suta (Sweden, 1976–) a chest of drawers, executed in his own studio, Stockholm, 2021.
Base in walnut, upper section with two drawers in black lacquered wood, the front with relief decoration, details in brass. Height 80 cm, width 89.5 cm, depth 40 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
129. Gareth Devonald Smith (Great Britain, 1956–) a “Keys 1” lamp, Porta Romana, United Kingdom, post 2009.
Patinated steel and copper with details of keys, textile shade with manufacturer’s label Porta Romana. Total height 79 cm.
Estimate: 10 000–12 000 / EUR 935 - 1 120
128. William Brand & Annet van Egmond (Netherlands) a “Delphinium” chandelier, Brand van Egmond, Netherlands, 2000s.
Nickel-plated metal, adorned with glass prisms, 14 light sockets. Length 140 cm, width 70 cm, total height 90 cm.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 370
130. Gabriel Hendifar (Cuba, 1981–) a “Cloud 19” chandelier, Apparatus, USA, 2020.
Bronze, chains with 18 globes in frosted glass, three light sockets with three glass shades, manufacturer’s label Apparatus model Cloud 03/11/20. Height 135 cm, diameter 77 cm.
Estimate: SEK 35 000 – 40 000 / EUR 3 180 – 3 630
131. Poul Kjaerholm (Denmark, 1929–1980) a “Hammock” lounge chair model “PK24”, Fritz Hansen, Denmark, 1999.
Satin-brushed stainless spring steel, upholstered in rattan, neck cushion in black leather, manufacturer’s label Fritz Hansen Made in Denmark 1999. Length 155 cm, width 67 cm, adjustable height ca 90 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
132. Poul Kjaerholm (Denmark, 1929–1980) a “PK54” dining table, Fritz Hansen, Denmark, 2007.
Base in satin-brushed spring steel, marble top, paper manufacturer’s label. Height 65 cm, diameter 140 cm.
Estimate: SEK 45 000 – 50 000 / EUR 4 090 – 4 540
133. Poul Kjaerholm (Denmark, 1929–1980) a set of ten “PK9” chairs, Fritz Hansen, Denmark, 1984.
Satin-brushed spring steel, upholstered in white leather, manufacturer’s label FRITZ HANSEN MADE IN DENMARK 1984. Height 75.5 cm.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350
136. Olof Ottelin, a pair of “Jumbo” easy chairs model “174”, Kervo Snickerifabrik for Stockmann OY, Finland, 1960s.
134. Jørgen Høvelskov (Denmark, 1935–2005) a “Harp” chair, Christensen & Larsen, Denmark, 1960s.
Base in oak, seat made of flag line. Height 133 cm.
Provenance: Reportedly acquired at the Den permanente store in Copenhagen, 1960s.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
136. Olof Ottelin (Finland, 1917–1971) a pair of “Jumbo” easy chairs model “174”, Kervo Snickerifabrik for Stockmann OY, Finland, 1960s.
Red lacquered wooden frame, armrest in leather, seat and back upholstered in floral “Joiku”-fabric designed by Marjatta Metsovaara, marked with ink 174 Jumbo. Seat height ca 30 cm, height 65 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540
135. A Nanimarquina hand made, ‘Cuks Red’, carpet c 240 x 170 cm.
Around the year 2000.
Estimate: SEK 6 000 – 8 000 / EUR 550 – 730
137. Carl Johan De Geer (Sweden, 1938–) a carpet, ‘Monster Mondrian’, hand tufted, c 300 x 200 cm, signed and numbered.
New Zealand wool. The original pattern was composed by Carl Johan De Geer in 1986. Carl Johan De Geer, the visionary artist and author, seized his daughter’s plastic toys in a burst of inspiration. With a mix of creative joy and a dose of eccentricity, he began to arrange and combine these small figures to draw a world of surreal patterns. The toys, with their colourful surfaces and enticing shapes, became the building blocks for Carl Johan De Geer’s artistic creation. He crafted a lively dance among the various plastic creatures, liberated by their inherent playfulness. With each movement and every arranged position, a new monster emerged - a monster that was a tribute to the absurd and the grotesque.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
138. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of ceiling lamps model “T487/M”, Hans-Agne Jakobsson AB, Markaryd, 1960s. Brass, each with one lamp socket, one labelled HANS-AGNE JAKOBSSON MARKARYD MADE IN SWEDEN. Height 32 cm, diameter 20 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
139. Hans-Agne Jakobsson (Sweden, 1919–2009) a ceiling lamp model “T261/6”, Hans-Agne Jakobsson AB, Markaryd, 1950s-60s. Base in teak, six shades in brass with later diffusers in glass, manufacturer’s label Hans-Agne Jakobsson AB Markaryd. Length 90 cm, height ca 115 cm, width ca 44 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
140. Hans-Agne Jakobsson (Sweden, 1919–2009) an imposing ceiling lamp model “T348/9”, Hans-Agne Jakobsson AB, Markaryd, 1960s-70s.
Brass, nine shades in clear glass, manufacturer’s paper label. Diameter 75 cm, total height including brass rod 235 cm.
Provenance: Folkets hus, Klippan.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 370
141. Hans-Agne Jakobsson (Sweden, 1919–2009) an imposing pair of ceiling lamps model “T348/9”, Hans-Agne Jakobsson AB, Markaryd, 1960s-70s.
Brass, nine shades in clear glass, manufacturer’s paper label. Diameter 75 cm, total height including brass rod 224 cm.
Provenance: Folkets hus, Klippan.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
142. Hans-Agne Jakobsson (Sweden, 1919–2009) a large pair of wall lamps, Hans-Agne Jakobsson AB, Markaryd, 1950s. Conical shades in copper, painted white on the inside, wall mounts in lacquered metal, manufacturer’s mark Hans-Agne Jakobsson AB Markaryd. Height 61,5 cm, width 50 cm, depth from wall ca 23 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
144. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of wall lamps model “V287”, Hans-Agne Jakobsson AB, Markaryd, 1960s-70s.
Brass, five shades in clear glass, manufacturer’s paper label. Height 54 cm, width 50 cm.
Provenance: Folkets hus, Klippan.
Estimate: SEK 15 000 – 18 000 / EUR 1 370 – 1 640
143. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of table lamps model “B 108”, AB Ellysett, Markaryd, 1960s.
Shades of pine veneer, white lacquered metal, manufacturer’s label AB ELLYSETT MARKARYD Made in Sweden. Height 28.5 cm.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
145. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of wall lamps model “V287”, Hans-Agne Jakobsson AB, Markaryd, 1960s-70s.
Brass, five shades in clear glass, manufacturer’s paper label. Height 54 cm, width 50 cm.
Provenance: Folkets hus, Klippan.
Estimate: SEK 15 000 – 18 000 / EUR 1 370 – 1 640
146. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of wall lamps model “V299”, Hans Agne Jakobsson AB, Markaryd, 1960s-70s.
Brass, shades with slats and perforated top, manufacturer’s label V-299 Hans Agne Jakobsson AB Markaryd. Height ca 23 cm, length from wall ca 23 cm.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
147. Jan Ekselius (Sweden, 1946–) a pair of “Accent” floor lamps, Orrefors, 1970s.
Aluminium, base in lacquered wood, shade in grey semi-transparent glass, one with manufacturer’s label Orrefors Sweden. Height 135 cm.
Literature: Model illustrated in a 1970s catalogue.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370
148. Charlotte Gyllenhammar (Sweden, 1963–) “In Waiting”. Signed with monogram and dated -09. Numbered 87/90. Bronze, green patina, height 23 cm.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
149. Barbro Östlihn (Sweden, 1930–1995) “XXI Mur Bleu avec Bande”. Signed Ostlihn and dated 1986 verso. Oil on canvas 47 x 38 cm.
Provenance: Galerie Aronowitsch, Stockholm. Private Collection, Stockholm.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
150. Jens Fänge (Sweden, 1965–) “Night School (Summer Camp Series) #5”. Signed Jens Fänge. Executed in 2001. Gouache and ink on paper 98 x 70 cm.
Literature: Mikael Olsson, Christian Viveros-Fauné and Gertrud Sandqvist, “Jens Fänge Jens Fänge Jens Fänge Jens Fänge”, 2005, illustrated no. 18.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
151. Martin Wickström (Sweden, 1957–) “Right Next Door To Hell (GN’R)”.
Signed Martin Wickström and dated 2008 verso. Oil on panel 40 x 40 cm.
Exhibitions: Galerie Leger, Malmö, “Martin Wickström - Guns N’ Roses”, 3 March - 1 May 2009.
Literature: Lars Liljendahl, Greger Ulf Nilson (ed), ‘Martin Wickström-99–09’, 2009, illustrated full-page p. 409.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
152. Anna Bjerger (Sweden, 1973–) “Smoking”.
Signed Anna Bjerger and dated 2008 verso. Oil on panel 61 x 49 cm.
Provenance: Galleri Magnus Karlsson, Stockholm.
Literature: Karin Faxén and Christian Viveros-Fauné, “Paintings”, 2011, illustrated p. 17.
Estimate: SEK 30 000 – 35 000 / EUR 2 730 – 3 180 (d)
153. Barbro Bäckström (Sweden, 1939–1990) Untitled.
Signed Barbro Bäckström and dated 1982. Iron net, height 21 cm. Plaster base, height 4 cm.
Estimate: SEK 15 000 – 18 000 / EUR 1 370 – 1 640 (d)
154. Peter Frie (Sweden, 1947–) Untitled. Signed P Frie verso. Oil on canvas 91 x 180 cm.
Estimate: SEK 175 000 – 200 000 / EUR 15 880 – 18 150 (d)
155. Sara-Vide Ericson (Sweden, 1983–) “Consequence (Exhaust)”. Signed Sara-Vide Ericson and dated 2020 verso. Panel 70 x 50 cm.
Provenance: V1 Gallery, Copenhagen. Private Collection, Sweden.
Exhibitions: V1 Gallery, Copenhagen, “Sara-Vide Ericson, Navigating Ancient Consequences”, 28 August - 12 September 2020.
Estimate: EK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
156. Jeff Olsson (Sweden, 1981–) “Funny Bird”. Executed in 2014. Charcoal on paper 19.5 x 29.5 cm.
Provenance: Galleri Magnus Karlsson, Stockholm.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370
157. Marianne Lindberg De Geer (Sweden, 1946–) “Rabbit Tales. A Puzzle 1”. Signed MLDG. Executed in 2024. Edition 7/8. Patinated bronze, plastic eyes.
Height 19 cm x length 20 cm x width 12.2 cm.
Provenance: Galleri Helle Knudsen, Stockholm. Acquired in 2024.
Exhibitions: Galleri Helle Knudsen, Stockholm, “Marianne Lindberg De Geer: Snapshots”, 8–30 November 2024.
Estimate: SEK 15 000 – 18 000 / EUR 1 370 – 1 640 (d)
158. Marianne Lindberg De Geer (Sweden, 1946–) “Rabbit Tales. A Puzzle 2”.
Signed MLDG. Executed in 2024. Edition 7/8. Patinated bronze, plastic eyes.
Height 10 cm x length 27 cm x width 13 cm.
Provenance: Galleri Helle Knudsen, Stockholm. Acquired in 2024.
Exhibitions: Galleri Helle Knudsen, Stockholm, “Marianne Lindberg De Geer: Snapshots”, 8–30 November 2024.
Estimate: SEK 15 000 – 18 000 / EUR 1 370 – 1 640 (d)
159. Marianne Lindberg De Geer (Sweden, 1946–) “Rabbit Tales. A Puzzle 3”.
Signed MLDG. Executed in 2024. Edition 7/8. Patinated bronze, plastic eyes.
Height 20 cm x length 23 cm x width 10.5 cm.
Provenance: Galleri Helle Knudsen, Stockholm. Acquired in 2024.
Exhibitions: Galleri Helle Knudsen, Stockholm, “Marianne Lindberg De Geer: Snapshots”, 8–30 November 2024.
Estimate: SEK 15 000 – 18 000 / EUR 1 370 – 1 640 (d)
160. Sten Eklund (Sweden, 1942–2009) Untitled.
Signed SE and dated 89. Gouache 17.5 x 15 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
161. Lena Cronqvist (Sweden, 1938–) “Tigrar”.
Signed Lena Cronqvist and dated 1971. Crayon 50.5 x 40 cm.
Provenance: Galerie Belle, Västerås.
Exhibitions: Galerie Belle, Västerås, “Lena Cronqvist”, 1971.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
162. Lena Cronqvist (Sweden, 1938–) Tigrar.
Signed Lena Cronqvist and dated 1971. Crayon 40 x 35 cm.
Provenance: Galerie Belle, Västerås.
Exhibitions: Galerie Belle, Västerås, “Lena Cronqvist”, 1971.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
163. Helene Billgren (Sweden, 1952–) “Operation 1987”. Signed Helene Billgren (Åberg) and dated 1987 verso. Mixed media/collage on panel 22 x 29 cm. Dimensions including the artist’s frame 24.6 x 31.6 cm.
Provenance: Gallery Oijens, Gothenburg.
Exhibitions: Gallery Oijens, Gothenburg, 1989. Borås Art Museum, Borås, “The End”, October 2012 - January 2013.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
164. Peter Frie (Sweden, 1947–) Untitled. Signed PF and numbered I/IV. Patinated bronze. Height 13 cm. Width 21 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
165. John-E Franzén (Sweden, 1942–2022) Untitled. Signed John-e Franzén and dated 1962. Canvas 67 x 53 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
166. Andreas Eriksson (Sweden, 1975–) “Debris flow”. Signed Andreas Eriksson and dated 2018–19 verso. Oil, acrylic, egg-oil tempera and pastel on canvas 50 x 40 cm.
Provenance: neugerriemschneider, Berlin. Private Collection, France.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350 (d)
167. Emma Hartman (Sweden, 1974–) Untitled. Signed Emma Hartman and dated 2014 verso. Oil on canvas 170 x 150 cm.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
168. Ola Pehrson (Sweden, 1964–2006) “Fredrik - Pojke med plåster”. Signed Ola Pehrson and dated 1999 verso. Oil on panel 58 x 57 cm.
Provenance: Lars Bohman Gallery, Stockholm. Acquired by the present owner in 2002.
Exhibitions: Lars Bohman Gallery, Stockholm, 2002. Färgfabriken, Stockholm, “Ola Pehrson - Retrospektiv”, 2 September - 8 November 2009.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
169. Peter Frie (Sweden, 1947–) Untitled. Signed Frie. Oil on paper 15 x 10.8 cm.
Estimate: SEK 18 000 – 20 000 / EUR 1 640 – 1 820 (d)
“Hero” by Karin Broos is an evocative painting that delves into the artist’s typical themes - the shadows of the past, the charged moments of everyday life and the liminal state between action and reflection. In the painting, we see a woman descending a staircase leading down to a body of water. The reflective surface of the water, a recurring motif in Broos’ work, carries a deep symbolism here, where water stands as a metaphor for transitions - between solid and liquid, between dream and reality, between childhood and adulthood. Water, so central to Broos’ art, functions not only as an outward reflection of nature, but also as a place of spiritual reflection and introspection. The shiny surface lures the viewer into a space of uncertainty, a space between the known and the unknown. In “Hero”, Broos moves beyond the clearly depicted motifs and opens up for a deeper, almost philosophical, reflection on what it means to be human. The woman’s hesitant steps suggest both caution and desire, and as in many of her works, there is a charged undertone that carries questions about what has happened the moment before and what might happen next. Karin Broos has often been described as an artist who, with clear lines and skillful execution, encapsulates the ambiguous. Her paintings are, as art critic Ingela Lind puts it, like a ballad or a blues - melancholic and repetitive, but at the same time charged with existential questions. Broos’ subjects are often taken from her immediate surroundings - daughters, grandchildren, dogs, the landscape around Lake Fryken in Värmland - but they are never simply idyllic.
170. Karin Broos (Sweden, 1950–) “Hero”. Signed Karin Broos and dated 2010 verso. Acrylic on canvas 105 x 165 cm.
Provenance: Christan Larsen Gallery, Stockholm. Private Collection, Stockholm.
Literature: Liljevalchs konsthall,, Stockholm, “Karin Broos, Ögonblick av liv”, 2023, compare “Trappa” from 2013 p. 21.
Estimate: SEK 200 000 – 250 000 / EUR 18 150 – 22 690 (d)
Karin Broos
171. Lars Englund (Sweden, 1933–) “Communication”.
Signed Lars Englund and dated 1962. Oil varnish on plastic film 19.5 x 45 cm.
Provenance: Bukowski Auktioner, Stockholm, Modern Art + Design 648, 16 May 2023, lot 827.
Private Collection, Sweden.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
172. Lars Englund (Sweden, 1933–) “Communication”.
Signed Lars Englund and dated 1963. Oil varnish on plastic film 21.5 x 45 cm.
Provenance: Bukowski Auktioner, Stockholm, Modern Art + Design 648, 16 May 2023, lot 826.
Private Collection, Sweden.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
173. Dick Bengtsson (Sweden, 1936–1989) Purple night. Signed Dick Bengtsson. Collage 64 x 96 cm.
Provenance: Galerie Moderne, Stockholm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
174. Ulf Wahlberg (Sweden, 1938–2014) Untitled. Signed Ulf Wahlberg and dated -74–76. Canvas 80.5 x 100.5 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 540 – 5 450 (d)
175. Dick Bengtsson (Sweden, 1936–1989) Untitled. Signed Dick Bengtsson. Executed in the 1980’s. Collage on paper 54 x 72 cm.
Provenance: Galleri Svenska Bilder, Stockholm.
Exhibitions: Göteborgs konstmuseum, Gothenburg, “Dick Bengtsson”, 13 January - 23 March 2001.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
176. Ola Billgren (Sweden, 1940–2001) “Underbarnet”. Signed Ola Billgren. Study for the lithograph ‘Underbarnet’, 1978. Pencil on paper 30.5 x 35 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
177. Ulrik Samuelson (Sweden, 1935–) “En himmel bränd”. Signed US. Also signed Ulrik Samuelson and dated -02 verso. Canvas 140 x 140 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
178. Ulrik Samuelson (Sweden, 1935–) “Bibliotheque noir”. Signed US. Also signed Ulrik Samuelson and dated -00 verso. Canvas 140 x 140 cm.
Provenance: Galerie Leger, Malmö.
Exhibitions: Galerie Leger, Malmö, 2001.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
179. Roger Hansson (Sweden, 1967–) “Fifflarn rider igen”. Signed Roger Hansson and dated 2014 verso. Canvas 62.5 x 54 cm.
Estimate: SEK 20 000 / EUR 1 820 (d)
180. Alfred Boman (Sweden, 1981–) Untitled. Mixed media on canvas in artist’s frame 125.5 x 92 cm.
Provenance: CF HILLl, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
181. Lars Englund (Sweden, 1933–) Untitled. Sintered steel, 35 cm in diameter.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
182. Hans Andersson (Sweden, 1979–) Untitled. Collage 36 x 52 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
183. Lena Cronqvist (Sweden, 1938–) “På Promenad”.
Signed LC and numbered 5/5. Foundry stamp Herman Bergman. Executed in 1993–94. Patinated bronze. Height 21 cm. Width 18.3 cm.
Provenance: Inherited by the present owner.
Literature: Galleri Lars Bohman, “Lena Cronqvist, Skulpturer, 1993–1995”, illustrated p. 34.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
183A. Cecilia Edefalk (Sweden, 1954–) “White Within, The San Gimignano Series”. Signed Cecilia Edefalk and dated 1997-2002 verso. Oil on canvas 40.2 x 30.2 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 570 – 7 420 (d)
183B. Filippa Barkman (Sweden, 1983–) “Mother”.
From the suite “In Limbo”. Signed verso. Executed in 2007. Ink on paper 50 x 70 cm.
Provenance: Stene Projects, Stockholm. Christian Zätterström Collection, Malmö.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
183C. Lotta Hannerz (Sweden, 1968–) ”Ärbar”.
Signed L. Hannerz and dated 2005 verso. Canvas 56 x 78 cm.
Provenance: Angelika Knäpper Gallery, Stockholm. Bukowski Auktioner, Stockholm, Spring Contemporary 567, 23 May 2012, lot 452.
Estimate: SEK 60 000 – 80 000 / EUR 5 570 – 7 420 (d)
Maria Miesenberger
The child is always present in Maria Miesenberger’s art. Just as in Miesenberger’s photographic images, with blackened and reworked images from the family photo album, in the sculpture “Leap of Faith (Getting Over)” she has erased all personal traits and attributes. One of the children in the artist’s photographs seems to have stepped out and taken three-dimensional form.
Another example of Maria Miesenbergr’s sculpture ”Leap of Faith (Getting Over)” is placed at Stockholm School of Economics. The School’s President, Lars Strannegård, writes about the sculpture:
“The title of the sculpture is Leap of Faith. It is derived from the philosopher Søren Kirkegaard who argued that it is necessary to leave the phase of reflection and just go for it, take action. A commercial sports apparel company would probably phrase it as Just Do It. But a Leap of Faith is something more profound. If you take a leap of faith, you do something even though you are not certain whether you will succeed or not. It is about taking on challenges and thereby taking risk. It is about having trust in yourself and others.
A Leap of Faith is about believing in oneself while being humble to one’s shortcomings and lack of knowledge. It is about the act of looking for knowledge. It is about a process, not a steady state. It is about doing something, of being on the move. Trying, experimenting, having grit.”
183D. Maria Miesenberger (Sweden, 1965–) “Leap of Faith (Getting Over)”. Signed M. Executed in 2018. Edition 4/5. Polished bronze. Height incl. podium 157 cm.
Estimate: SEK 400 000 – 600 000 / EUR 37 100 – 55 700 (d)
184. Rolf Hanson (Sweden, 1953–) Untitled.
Signed Rolf Hanson and dated 1993 verso. Oil on panel 122 x 144 cm.
Exhibitions: “Samlat Ljus”, Riksutställningar and the Moderna Museum’s International Program. Tour 1998-2000. RMIT Gallery, Melbourne, Australia. Drill Hall Gallery, Canberra, Australia. Ivan Dougherty Gallery, Sydney, Australia.Lawrence Wilson Art Gallery, Perth, Australia. LASALLE SIA College of the Arts Gallery, Singapore. Båtsmanskasernen, Karlskrona, Sweden. Konstens Hus, Luleå, Sweden. Vikingsbergs Konstmuseum, Helsingborg, Sweden. Gotlands Konstmuseum, Sweden. Södertälje Konsthall, Sweden. Centro Cultural Borges, Buenos Aires, Argentina.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350 (d)
185. Håkan Rehnberg (Sweden, 1953–) “Untitled”. Signed Håkan Rehnberg and dated 2010. Oil on plexi 170 x 150 cm.
Provenance: Galerie Nordenhake, Stockholm.
Exhibitions: Galerie Nordenhake, Stockholm, “Håkan Rehnberg “Counter-moment”“, 20 February - 21 March 2010.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
186. Bigert & Bergström (Mats Bigert & Lars Bergström) (Sweden) “Botanic Garden”.
Executed in 2010. Edition 2/3. Photo on vinyl foil, acrylic globes, low energy bulbs 83 x 35 x 90 cm.
Provenance: Milliken Gallery, Stockholm. Niklas Belenius Gallery, Stockholm. Private Collection, Stockholm. Acquired from the above in 2012.
Exhibitions: Milliken Gallery, Stockholm, “Temporary Truth”, 21 January - 6 March 2010.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
187. Jockum Nordström (Sweden, 1963–) “Suttung & Bauge lurade”. Signed Jockum and numbered 3 and 4. Diptych, collage and watercolour on paper 30 x 40 cm (30 x 20 cm each).
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
Ulrik Samuelson’s art is characterised by the use of refined materials such as silk, mahogany, glossy black plastic, gold, and marble. His works are often symbolically charged and explore oppositions such as death and sexuality, desire and transience.
In 1966, Samuelson had an exhibition at Galerie Hedenius in Stockholm titled ”Nekromanti”, from which clear parallels can be drawn to the painting up for auction, executed two years later. The composite title “Nekromanti-reminiscence” carries multiple layers of meaning. The word necromancy is composed of the Greek words for death and divination. The concept of necromancy also encompasses words like the water spirit (näcken) and water lilies (näckrosor), romance, and even necrophilia, all recurring elements in the works included in the 1966 exhibition and a recurring theme in Samuelson’s subsequent creations.
The water lily, which grows in the borderland between water and air, between the visible and the hidden, becomes a metaphor for the human existential condition and the search for balance between opposing forces. Samuelson’s “water lily period” therefore represents not only a phase in his artistic development but also a deeper reflection on the complex relationship between nature and humanity.
188. Ulrik Samuelson (Sweden, 1935–) “Nekromanti-reminiscens”.
Signed Ulrik Samuelson and dated 1968 verso. Tissue, plastic water-lily leaves, enamel and glass in artist’s frame 60 x 95.5 cm.
Provenance: Bukowski Auktioner, Stockholm, Moderna Höstauktionen, 3 November 2006, lot 559.
Estimate: SEK 100 000 – 120 000 / EUR 9 080 – 10 890 (d)
Ulrik Samuelson
189. Fredrik Wretman (Sweden, 1953–) “Goatrans”.
Signed. Polyurethane. Height 83 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
190. Jarl Ingvarsson (Sweden, 1955–) Untitled. Signed Jarl Ingvarsson and dated ‘92 verso. Canvas 135 x 100 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
191. Ernst Billgren (Sweden, 1957–) Untitled. Signed EB. Oil and mosaic on panel in artist’s frame 137 x 194 cm.
Estimate: SEK 200 000 – 250 000 / EUR 18 150 – 22 690 (d)
192. Jan Håfström (Sweden, 1937–) Untitled. Signed Jan Håfström and dated 1978 verso. Mixed media on canvas mounted on cardboard in wooden frame 54 x 42.5 cm.
Provenance: Stalke Galleri, Kirke Saaby, Denmark.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 370 (d)
194. Marie-Louise Ekman (Sweden, 1944–) “Picture on a wall with light VII”.
Signed M. L. De Geer Bergenstråhle and dated 1974. Assemblage and oil on canvas 26 x 21 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
193. Torsten Andersson (Sweden, 1926–2009) Untitled. Signed Torsten. Canvas 59 x 54 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
195. Marie-Louise Ekman (Sweden, 1944–) “Bambino Malato (sabbiato)”.
Numbered 1/8 and dated 2001 on label. Glass 38 x 12 x 17 cm.
Estimate: SEK 18 000 – 20 000 / EUR 1 640 – 1 820 (d)
196. Peter Frie (Sweden, 1947–) Untitled.
Signed P Frie verso. Oil on canvas 90 x 180 cm.
Estimate: SEK 150 000 – 175 000 / EUR 13 620 – 15 880 (d)
197. Barbro Bäckström (Sweden, 1939–1990) Untitled. Signed Barbro Bäckström and dated 1981 on label.
Iron mesh 120 x 100 cm.
Estimate: SEK 200 000 – 250 000 / EUR 18 150 – 22 690 (d)
198. Andreas Eriksson (Sweden, 1975–) “Landskap 7”.
Signed Andreas Eriksson and dated 2012 verso. Oil on canvas 75 x 65 cm.
Provenance: Galleri Riis, Stockholm. Private Collection, Stockholm.
Exhibitions: Galleri Riis, Stockholm, “Andreas Eriksson, Landskap (till Kjarval), 14 February - 27 March 2013. Bonniers Konsthall, Stockholm, “Andreas Eriksson”, 29 January - 23 March 2014. Trondheim Kunstmuseum, “Andreas Eriksson, Roundabouts”, 5 April - 8 June 2014. Pasquart, Kunsthaus Biel, Schweiz, “Andreas Eriksson”, 6 July - 17 August 2014. Reykjavík Art Museum, “Andreas Eriksson: Roundabouts”, 27 September 2014 - 4 January 2015.
Estimate: SEK 125 000 – 150 000 / EUR 11 350 – 13 620 (d)
199. Carl Fredrik Reuterswärd (Sweden, 1934–2016) “Non-Violence”.
Signed CFR and numbered 8/150. Patinated bronze on stone base, length 28 cm, height 17 cm. A signed certificate accompanies the lot, executed in 1996.
Provenance: Acquired at a gallery in Munich, Germany, 1996.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
200. Kristina Jansson (Sweden, 1967–) “Baby”. Signed Kristina and dated 2004 verso. Canvas 34.3 x 25.3 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
Ola Billgren
Ola Billgren’s painting, “Portrait Study, Hanna D.”, brings together two important parts of his oeuvre: the photorealism of the 1960s and the fascination with the colour red that was so strong in the 1990s. Splashes of red began to appear in Billgren’s paintings in the latter half of the 1980s, for example in “Historia”, 1986, and “Trettio år i Lund”, 1989, and later his interest in the colour scarlet gained momentum and he painted a whole series of red motifs. Billgren believed that the red pigment had a versatility that other colours often lacked, it could express both life and warmth but also aggressiveness. In the red paintings Billgren used photography in a new way. The photographic image was used as a model, first carefully painted with a brush, red in red, and then the motif was scraped off with a metal rake. The technique recalls the protracted nature of the photographic process, and the result is contradictory: the photographic image does not communicate directly to the viewer, but exists in the distance on the edge of visibility. Behind the veils of colour left by the scraper, one often glimpses a subject with intimate or romantic overtones, an interior, a garden, a café, or as in the painting in the catalogue - a human form. With his special colour treatment, Billgren has created paintings that touch us on all levels.
In the winter of 2010/2011, a number of Billgren’s paintings from this period were exhibited at Bror Hjorths Hus in Uppsala, where the museum director shared his thoughts on Billgren’s red masterpieces:
“- Red strikes a chord with all of us,” says Tomas Järliden, museum director at Bror Hjorths Hus. No other colour is so associated with our emotions as red. “I saw red’ we say when we get really angry and life appears “rosy” when we fall in love. Red also alludes to festivals and holidays. Celebrities walk the “red carpet’ and holidays are marked with red in the calendar. But red is also the colour of pain, guilt and shyness. Ola Billgren’s red painting cannot be divided into any single category. It spans the entire emotional spectrum and individual scale of interpretation of the colour red.”
201. Ola Billgren (Sweden, 1940–2001) “Porträttstudie, Hanna D.”. Signed Ola Billgren and dated -95 verso. Canvas 98 x 93 cm.
Provenance: Private Collection, Sweden. Uppsala Auktionskammare, Internationella Kvalitetsauktion, 18–20 May 2022, lot 594. Private Collection, Stockholm.
Estimate: SEK 225 000 – 250 000 / EUR 20 420 – 22 690 (d)
202. Jan Håfström (Sweden, 1937–) “Untitled”.
Executed in 2001. Acrylic on wood in the artist’s frame 32.5 x 42 cm.
Provenance: Brändström & Stene, Stockholm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730 (d)
203. Lars Englund (Sweden, 1933–) Untitled. Signed Lars Englund and dated 1960 verso. Oil on cardboard 61 x 81 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730 (d)
204. Barbro Bäckström (Sweden, 1939–1990) “Vilande ansikte”.
Signed Barbro Bäckström and dated 1971. Edition 2/20. Aluminum, 12 x 12 x 10 cm.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
Linn Fernström
Linn Fernström, born in 1974 in Örebro, established herself as a prominent artist around the turn of the millennium. Bukowskis is pleased to present the painting "Strutsilusti" from 1998, which was featured in the artist's graduation exhibition in 2000.
In this early work, we see an ostrich portrayed with a dazed look against a clear blue sky. The canopy of heaven is punctuated by birds and exotic animals that seem to have been flung into the blue. It is a suggestive and dreamlike pictorial world that stands out both technically and colouristically. Mårten Castenfors, the Swedish art critic, wrote in the essay "A Disturbance Transmitter in the World" in connection with the exhibition: "Already at the Royal Institute of Art's graduation exhibition in 2000 at Galleri Mejan in Stockholm, Fernström revealed herself as a bold solitary who undoubtedly allowed her figures to figure in the most unlikely contexts. Fernström clearly wanted to take up space; she assertively and naturally occupied her room by working in a surprisingly large format."
The painting up for auction is one of the smaller works from this period of emerging monumental painting. Fernström creates breathtaking compositions where the self is used as a tool for a narrative about life. Like the Mexican artist Frida Kahlo, Fernström employs animals to symbolise
emotional and psychological states. Kahlo often painted monkeys, dogs, and deer as companions in her self-portraits, where they represented vulnerability or protection. Fernström also includes animals—birds, exotic creatures, and butterflies—but in a more surreal and narrative context, where the animals become part of a dreamlike scene rather than a direct symbol of the artist's inner life.
Linn Fernström occupies a unique position in Swedish contemporary art. Like a child's unpretentious way of experiencing the world around them, the artist allows the wonders of life to generate dreams and fantasies in a wholly recognisable environment. Stubborn and persistent, and completely uninterested in trends, she has created her own platform. Linn Fernström paints large and figuratively at a time when art discourse has long focused on investigations and processes.
205. Linn Fernström (Sweden, 1974–) “Strutsilusti”.
Signed Linn Fernström and dated 1998 verso. Canvas 110.2 x 102.2 cm.
Exhibitions: The Royal Institute of Art, Stockholm, graduation exhibition 2000.
Estimate: SEK 125 000 – 150 000 / EUR 11 350 – 13 620 (d)
206. Fredrik Wretman (Sweden, 1953–) “Budbäraren (Hermes)”.
Signed FW and dated -16. Numbered 5/7. Total edition of 7 + 3AP. Green patinated bronze, height 43 cm.
Exhibitions: Galleri Glas, ‘KLENELL WRETMAN WÅHLSTRÖM’, 2 June - 18 August 2022, another example exhibited.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
208. Mats Gustafson (Sweden, 1951–) Portrait of Karl Holmström.
Signed Mats Gustafson and dated 91 verso. Watercolour 37.5 x 28 cm.
Provenance: Stockholms Auktionsverk, Moderna Kvalitén, 7 November 2002, lot 895. Private Collection, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
207. Siri Carlén (Sweden, 1986–) Untitled.
Signed Siri Carlén and dated 2019. Pastel on paper 35 x 29.5 cm.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 370 (d)
209. Ulf Rollof (Sweden, 1961–) Untitled.
Signed Ulf Rollof and dated 2013. Acrylic, float glass shot with 9 mm revolver 47 x 43 cm.
Provenance: Acquired directly from the artist in 2013.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
Lena Cronqvist
Since her debut in 1965 at Galerie Pierre in Stockholm, Lena Cronqvist has fascinated and moved audiences with her powerful depictions of what it means to be human. Her paintings leave no one untouched. It is from her own experience and the private sphere that Lena Cronqvist draws her inexhaustible source of inspiration. As an artist, she has painted her way through the rollercoaster of life and, through her own experiences, has accessed something deeply human. We encounter our own dreams and fears in her works; we confront memories, hopes, and anxieties. At the same time, Cronqvist takes her place as part of a long artistic tradition, using her own impressions and experiences in dialogue with her artistic predecessors.
”Den röda vallmon” (The Red Poppy), the couple's relationship and the complicated power dynamics that can unfold in the encounter between man and woman are depicted. A man lies stretched out on a bed, with one eye open, while in front of the bed stands a naked woman, seemingly completely unperturbed. Her pose is proud and rigid, and her expression inscrutable. The entire scene is bathed in a cold, winter-faded milky white light that blurs the outlines. As the only contrast, the petals of the giant poppy that the woman holds in her hand glow blood-red. The symbolism is clear. The poppy has, historically and in our time, been associated with the remembrance of loss, memories, comfort, and hope. Cronqvist invites the viewer to become a spectator to the silent chamber play that unfolds. The artist explores this theme time and again throughout the year of 1984.
In another version of the motif, with the same title, exhibited at the Royal Academy of Fine Arts and depicted in literature, the power balance between the couple has shifted. The man sleeps undisturbed with his hands behind his head. In front of him stands the woman, holding the fragile flower carefully in her hand. Her face is open, and her gaze is pleading and contemplative. A third composition, "Olympus," evokes thoughts of Édouard Manet's scandalous Olympia from 1864. The playing field has once again changed, and the drama is heightened by the fact that the artist has painted the scene on a checkered floor.
Sune Nordgren writes: “Lena Cronqvist sees herself as part of a long artistic tradition. She freely draws from her vast reservoir of visual impressions and establishes dialogues with her predecessors. Epochs and styles, movements and -isms do not exist for a pioneering artist. They are the tools of art historians to grapple with the chaos that is the primary inspiration for many artists, an inexhaustible source with constant inflows.”
210. Lena Cronqvist (Sweden, 1938–) “Den röda vallmon”. Signed Lena Cronqvist and dated 84. Oil and tempera on canvas 185 x 160 cm.
Provenance: Galerie Belle, Västerås. Private Collection, Sweden.
Exhibitions: Galerie Belle, Carl-Johan Bolander, Västerås, exhibition no 297, 1987. Liljevalchs konsthall, Stockholm, “Lena Cronqvist”, 2 September - 16 October 1994, cat. no 33.
Literature: Prins Eugens Waldemarsudde, “Lena Cronqvist”, exhibition catalog, 2020, cf “Den röda vallmon”, 1984, cat. no 62. Photo Monica Englund, from the book “Lena Cronqvist” by Sune Nordgren - Monica Englund, Kalejdoskop, Åhus, 1990.
Estimate: SEK 400 000 – 600 000 / EUR 36 300 – 54 450 (d)
211. Malin Gabriella Nordin (Sweden, 1988–) “Loutra”.
Signed MGN and dated 2022. Flashe on canvas 161 x 137 cm.
Provenance: Galleri Steinsland Berliner, Stockholm.
Exhibitions: Galleri Steinsland Berliner, Stockholm, “Drömmer att jag somnar”, 19 August - 17 September 2022.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
212. Jim Thorell (Sweden, 1981–) “Trippy Teapot Topography”.
Signed Jim Thorell and dated ‘19 verso. Oilbar and acrylic on canvas 200 x 300 cm.
Provenance: Loyal Gallery, Stockholm.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
213. Jenny Carlsson Grip (Sweden, 1984–) “Ur”.
Signed Jenny Carlsson and dated 2017 verso. Oil on canvas 60 x 72 cm.
Provenance: Galerie Forsblom, Stockholm.
Exhibitions: Galerie Forsblom, Stockholm, ‘Jenny Carlsson: Som Spön’, 5 May – 12 August 2017.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
214. Love Lundell (Sweden, 1981–) Untitled.
Signed Love E Lundell and dated MMXII. Mixed media on panel 80 x 60 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
215. Dan Wolgers (Sweden, 1955–) Untitled. Signed Dan Wolgers. Unique. Glow bulbs and silicone mounted on wooden base. Height 34 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
216. Johan Furåker (Sweden, 1978–) “A Father of a Nation”. Signed Johan Furåker and dated -14 verso. Oil on mdf 70 x 50 cm.
Provenance: Galleri Ping-Pong, Malmö, Sweden.
Exhibitions: Galleri Ping-Pong, Malmö, “Johan Furåker, A Poet In Need Of An Empire”, 22 February - 22 March 2014.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
217. Lars Lerin (Sweden, 1954–) Motif from Lofoten.
Signed Lars Lerin and dated 2009. Watercolour 55.5 x 75 cm.
Estimate: SEK 225 000 – 250 000 / EUR 20 420 – 22 690 (d)
218. Elis Eriksson (Sweden, 1906–2006) Untitled. Signed Elis E verso. Painted wood, collage 31 x 35 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
Elis Eriksson
Elis Eriksson studied at Konsthögskolan in Stockholm 1934-39. In 1959 Eriksson had his artistic breakthrough, when he exhibited wooden reliefs and paper collage with his characteristic mixture of text and paint. Eriksson considered this period his artistic rebirth.
In 1965 he decorated Galerie Burén, Stockholm in white cardboard on which he drew stories in ink about the cowboy Pavan and his reckless adventures on the American prairie.
Eriksson’s now classic words ”Håll tjeften” (Shut up, misspelled), calls for rebellion and a refusal to obey. By doing his dyslexia to a personal expression, he turned it from a weakness to his strength.
Eriksson was versatile and committed artist who felt for the poor and exposed, for the disabled and different.
The same year as he died, 2006, Eriksson participated in the exhibition ”Modernautställningen” at Moderna Museet, Stockholm, which showed a selection of contemporary and significant artists. Eriksson’s postion as one of the most important Swedish post-modern artists is unquestionable.
219. Elis Eriksson (Sweden, 1906–2006)Untitled.
Signed EE and dated 61. Painted wooden relief 27 x 31.5 cm.
Provenance: Beijers auktioner, Stockholm, 21 May 1990.
Estimate: SEK 15 000 – 18 000 / EUR 1 370 – 1 640 (d)
220. Elis Eriksson (Sweden, 1906–2006) Untitled.
Signed EE. Executed in 1959-61. Paper collage in a box 78 x 72 cm.
Provenance: Bukowski Auktioner, Stockholm, Moderna Vårauktionen, 18-20 May 1988, lot 310.
Literature: Teddy Hultberg, “Håll tjeften: Elis Eriksson - 100 år av åtlydnader”, 2006, illustrated p. 149.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
221. Elis Eriksson (Sweden, 1906–2006) detvåmåsarnavisstejaommeningetomräven (nr.10)”.
Dated Jan 63 verso. Collage of paper, cardboard, and typewritten text in a box 28 x 32 x 4.5 cm.
Provenance: Galerie Burén, Stockholm. Private Collection, Stockholm. Acquired from the above in 1963.
Exhibitions: Galerie Burén, Stockholm, “5 kronor å 6 öre”, 1963.
Literature: Teddy Hultberg (ed.), “Håll Tjeften: Elis Eriksson - 100 år av åtlydnader”, 2006, illustrated p. 200.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
222. Elis Eriksson (Sweden, 1906–2006) ”Fumla”.
Dated 14.4.72. Canvas 24 x 25 cm.
Provenance: Galerie Aronowitsch, Stockholm. Private Collection, Stockholm. Acquired from the above in 1990.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
223. No lot
224. Barbro Östlihn (Sweden, 1930–1995) “La Bourse IV”. Signed Barbro Östlihn and dated 1989 verso. Oil on canvas 50 x 50 cm.
Provenance: Galerie Aronowitsch, Stockholm.
Exhibitions: Galerie Aronowitsch, Stockholm, May 1991.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
Ola Billgren
“Images can always be given different tasks. My own paintings have two: they must function as aesthetic objects that stimulate the imagination, and they must carry a content that I myself do not really know or understand.” (Ola Billgren, 1971).
The mass culture that permeated Swedish society in the 1960s created a sense of disruption - a need to move forward and leave the past behind. At a time when non-figurative painting dominated, artist Ola Billgren deviated from the norm and began to explore realism and figurative representation. In his paintings from the 1960s and 1970s, Billgren drew inspiration from contemporary urban life, literature and film, and the illustrated press.
In the 1967 work “Painting”, Billgren used exotic images from a book about Africa and a photo of a modern Spanish couple from a weekly magazine. The motif is reminiscent of a photograph omitted from a family album or a still from a film. In this early work, the artist has captured a moment from a context that extends beyond the confines of the canvas.
A couple, perhaps tourists in a sunny and warm setting, stand in front of a primitive mural that they seem to take in and study. The man, positioned to the left of the woman, is only partially represented - his right arm and a shadowed profile of his face are visible. His fleeting presence is reflected in the shadow that falls across the lower right of the canvas. The woman takes on a clearer form, while maintaining a vicarious presence. She is turned away from the viewer and focuses instead on the difficult-to-interpret mural - an image within an image. Billgren uses the elements of the painting as jigsaw pieces, layering them and shifting the point of view to challenge his audience. By experimenting with the concept of human presence, Billgren creates a scene where the viewer ‘sees’ without being seen.
In the image, two figures are depicted, each marked by a different level of presence. The man, positioned to the left of the woman, is only partially represented—his right arm and a shadowed profile of his face are visible. His fleeting presence is echoed in the foreboding shadow that falls over the lower right part of the canvas. The woman takes a more active role, while maintaining a substitute presence. She is turned away from the viewer, focusing instead on the wall painting—an image within the image. The audience struggles to connect with the figures emotionally, as they serve as conduits for the point of view. Billgren uses elements in the painting like puzzle pieces, layering them and shifting the point-of-view to challenge his audience.
In Ola Billgren’s captivating “Painting”, a movement is created between subjective and objective points of view. The subject of the painting appears to be a fragment - part of a much larger mystified narrative, where important details are withheld from the viewer. Although there are enough clues to suggest context, the most crucial keys to interpretation lie beyond the image itself. As the immediate photographic impression lacks a clear narrative, we are invited to stop and focus on the pure visual experience itself.
224A. Ola Billgren (Sweden, 1940–2001.) “Painting”.
Signed Ola Billgren and dated 1967. Oil on canvas 95 x 115 cm.
Provenance: Acquired through Björn Bengtsson, Lund 1967. Private Collection, Sweden.
Exhibitions: Biennale de Paris, Paris, 1967 or 1971. Galerie Belle, Västerås, exhibition no 15. Rooseum, Malmö, “Ola Billgren - A Retrospective”, 14 May - 4 August 1991. Moderna Museet, Stockholm, “Ola Billgren - A Retrospective”, 26 October - 8 December 1991. Rooseum, Malmö, “Ola Billgren, till minne”, 12 - 27 January, 2002.
Literature: “Ola Billgren - målningar 1963-73”, Gallery 69, 1973, illustrated and listed as no. 58. Lars Nittve, Douglas Feuk and Ola Billgren, “Album - Ola Billgren - en retrospektiv”, 1991, illustratedfull page p. 40. Douglas Feuk, “Livslång rörelse - En essä om Ola Billgrens konstnärskap”, 2024, illustrated p. 151.
Estimate: SEK 3 000 000–4 000 000 / EUR 285 000–380 000 (d)
225. Lena Johansson (Sweden, 1975–) Untitled.
Signed Lena Johansson and dated 2019 verso. Oil on panel 60 x 75 cm.
Provenance: Galleri Ping-Pong, Malmö.
Exhibitions: Galleri Ping-Pong, Malmö, “Bjørn Mortensen, Lena Johansson & Olof Nimar “Slungad i Groddammen”. 24 August - 14 September 2019.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
226. Jeff Olsson (Sweden, 1981–) Untitled.
Signed on label verso. Executed in 2007. Mixed media on paper 51 x 100 cm.
Provenance: Galleri 54, Gothenburg.
Exhibitions: Galleri 54, Gothenburg, “Songs From The Great Swamp”, 28 September - 21 October 2007.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
227. Katrine Helmersson (Sweden, 1958–2024) Untitled.
Signed Katrine Helmersson and dated 1998. Gjutarstämpel Herman Bergman. Patinated bronze 40 x 26 x 15 cm.
Provenance: A gift from the artist to the present owner.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730 (d)
228. Anders Widoff (Sweden, 1953–) “Fiktion:2”.
Signed Anders Widoff and dated Berlin 1992 verso. Oil on canvas 192 x 112 cm.
Provenance: Künstlerhaus Bethanien, Berlin. Galleri Bo Sverdén, Växjö
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
229. Lena Cronqvist (Sweden, 1938–) Untitled.
Signed Lena Cronqvist and dated 2001. Painted terracotta, height 14 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
230. Andreas Eriksson (Sweden, 1975–) “Plats”.
Signed Andreas Eriksson and dated nov 2011 verso. Canvas 187 x 139 cm.
Provenance: Galleri Riis, Stockholm. Bukowski Auktioner, Stockholm, Höstens Contemporary, Stockholm 570, 14 November 2012, lot 299. Private Collection, Stockholm.
Exhibitions: Galleri Riis, Oslo, “Andreas Eriksson - Expedition”, 8 March - 22 April 2012.
Estimate: SEK 150 000 – 200 000 / EUR 13 620 – 18 150 (d)
Mamma Andersson
Karin Mamma Andersson has experimented with different materials and different painting techniques in different periods of her life as an artist. “Lillebror” the painting being auctioned, which is painted in oil on metal, is one such example. The technique is derived from seventeenth-century paintings on copper plate. Mamma Andersson herself described metal as an exciting material to work with, giving the paintings a sharper expression in relation to the more traditional canvas, and allowing a different kind of sheen to emerge.
In the painting “Lillebror”, we find two children, captured in the moment. Children are a frequent subject in Mamma Andersson’s paintings from the 1990s. Andersson adopted the middle name Mamma in the early 1990s towards the end of her studies at Stockholm’s Royal Institute of Art to distinguish her from an artist with the same name. The subjects of her paintings tend to be drawn from the environment in which Mamma Andersson was living at the time, and, as a mother, children were a very central element in her life during this period. She was largely surrounded by boys of this age and they thus became a recurring subject in her paintings, like the not infrequent landscape of Norrland and the graphic black and white birch trees. The children are often depicted in movement, dancing or playing, but often enclosed in their own worlds. In “Lillebror” we find the boys in a world of their own, in their own imaginations, building something they have invented.
In the book “Mamma Andersson” published in conjunction with the major exhibition at Moderna Museet in 2007, the artist herself describes this period of her life in a conversation with Lars Norén: “If you ask me to think about how I painted in the nineties, when I was still naive, which is very beautiful, incredibly blunt and with no smartness at all? Well there were a lot of children in almost all of my paintings then. I realise I was painting my situation, the only subject I had access to, the children and the place where we lived. I was, after all, the mother of two children and I was relating to them all the time.”
231. Mamma Andersson (Sweden, 1962–) “Lillebror”.
Signed Mamma Andersson and dated 1996 verso. Oil on aluminum 100 x 100 cm.
Provenance: Private Collection, Sweden.
Estimate: SEK 500 000 – 700 000 / EUR 45 380 – 63 520 (d)
232. Ulrik Samuelson (Sweden, 1935–) Untitled.
Signed US. Painted glass 79 x 79 cm including frame.
Provenance: Bo Siesjö Collection. Stockholms Auktionsverk, “Bo Siesjö Collection”, 29 September 2010, lot 17. Private Collection, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
233. Ragnar Persson (Sweden, 1980–) “Wolf”.
Signed Ragnar. Mixed media on paper 40 x 33 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
234. Ragnar Persson (Sweden, 1980–) Untitled.
Signed Ragnar. Diptych. Pencil on paper 10 x 15 cm each.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090 (d)
235. Ylva Snöfrid (Ogland) (Sweden, 1974–) “Venus at Her Mirror”. Signed Ylva Ogland and dated 2008. Canvas 99 x 66 cm.
Provenance: Brändström Stockholm.
Exhibitions: Brändström Stockholm, “Snöfrid vid sina speglar med the Oracle & Fruit and Flower Deli – This is the Beginning of an Odyssey in Vodka”, 2009.
Estimate: SEK 125 000 – 150 000 / EUR 11 350 – 13 620 (d)
Cecilia Edefalk
The double portrait was first shown in 1988 at Cecilia Edefalk's debut exhibition at Galleri Thomas Wallner in Malmö. The exhibition was widely appreciated and reviewed, and all the works sold before the opening. The auction's portrait is a diptych depicting a person gazing at his reflection in a mirror. It is a realistic representation, painted in warm tones against a buttery yellow background. Sunlight streams in from the left, guiding the viewer's gaze to the partially turned face in the right panel. What is it that we see? Is there one individual in the image, or are there two?
The author and art critic Carl-Johan Malmberg aptly wrote in connection to the artist's exhibition at the Nationalmuseum in 2008: "Edefalk is a geneticist of images; it is as if she says that there is never just one image. Images come from images and are always pregnant with new images; they seed themselves, bud off, double themselves, and spread, not only in the viewer's consciousness but in the very physical space. A woman contains a man, every being contains another, and this other also includes images of oneself."
Edefalk's works often explore the act of seeing and the perception of reality. By consistently employing "an image of an image of an image..." she drains the image of its original meaning while simultaneously creating a new one. As she sometimes also divides the image into different surfaces that interact in an intricate manner, our perceptual ability is shattered like a broken mirror, prompting us to self-reflection.
What do we really see? Surfaces. But beneath these surfaces lie layers upon layers of meaning. We can lose ourselves in the painting's history of creation and note that there is not just one clear experience or interpretation of it, but several – depending on which image one chooses to start from.
With an almost hypnotic calm, Cecilia Edefalk leads us into a world where the images are never unambiguous – they are riddles to return to, again and again.
236. Cecilia Edefalk (Sweden, 1954–) Untitled.
Signed C. Edefalk and dated 88 verso. Diptych. Canvas 50 x 35 cm each.
Provenance: Galleri Thomas Wallner, Malmö 1988. Karl-Erik Johansson Collection, Sweden.
Exhibitions: Galleri Thomas Wallner, Malmö, 1988 - the artist’s debut exhibition. Literature: Karl-Erik Johansson, “Samla sitt liv, Konstälskarens bilderbok”, 2010, illustrated fullpage p. 261.
Estimate: SEK 200 000 – 250 000 / EUR 18 150 – 22 690 (d)
237. Marie-Louise Ekman (Sweden, 1944–) ‘Untitled’.
Signed M.L De Geer and dated 1967. Oil on canvas 66 x 55 cm.
Provenance: Bukowski Auktioner, 10 September 2012.
Exhibitions: Moderna Museet, Stockholm, ‘Marie-Louise Ekman’, 17 June - 17 September 2017.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
238. Jan Håfström (Sweden, 1937–) “Barndomen”.
Signed Jan Håfström and dated 2005. Mixed media on panel 65.5 x 107 cm.
Provenance: Brändström & Stene, Stockholm. Private Collection Stockholm. Bukowski Auktioner, Contemporary Art & Design 619, 12 November 2019, lot 319. Private Collection, Stockholm.
Exhibitions: Liljevalchs konsthall, Stockholm, “Mörkrets Hjärta / Heart of Darkness”, 18 April - 21 May 2009.
Literature: Bomulds Fabriken, Ingela Lind (ed.), “M/s Siddhart Enterprises”, 2016, illustrated on p. 93. Liljevalchs konsthall, Mårten Castenfors (ed.), “Book of the Dead”, 2009, illustrated on p. 80.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
239. Jan Håfström (Sweden, 1937–) “Volcanic landscape”.
Signed Jan Håfström and dated 2000 verso. Mixed media 40.5 x 48.5 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
240. Lena Cronqvist (Sweden, 1938–) Untitled.
Signed Lena Cronqvist verso. Canvas 50 x 61 cm.
Estimate: SEK 30 000 – 35 000 / EUR 2 730 – 3 180 (d)
241. Marie-Louise Ekman (Sweden, 1944–) ‘Tid min tid’.
Signed M.L Ekman and dated 2001. Assemblage in acrylic box 79 x 19 cm.
Provenance: Acquired directly from the artist.
Estimate: SEK 18 000 – 20 000 / EUR 1 640 – 1 820 (d)
241A. Lotta Hannerz (Sweden, 1968–) “P.S”.
Signed Lotta Hannerz and dated 2013 verso. Oil on panel 50 x 46 cm.
Provenance: Lars Bohman Gallery, Stockholm.
Exhibitions: Lars Bohman Gallery, Stockholm, “Oblikt”, 5 April - 11 May 2014.
Estimate: SEK 40 000–60 000 / EUR 3 740–5 610 (d)
242. No Lot
Ola Billgren
In Ola Billgren’s painting “Återblick” from 1997, the artist’s interest in detailed photorealism from the 1960s is intertwined with an emotional intensity that characterized his red period from the 1990s. The crimson hue of the painting becomes a means of expression that contains both life-giving warmth and intense feelings of conflict and aggression. Billgren believed that the colour red had a unique ability to reflect the complex emotional life of human beings, an ability that few other colours could match. In ”Återblick”, this colour is used not only to depict a specific scene, but to evoke a sense of something past and present at the same time, where the depth of the red colour creates an atmosphere of both closeness and distance.
Billgren’s creative process is itself a unique combination of technical and artistic methods. He began by carefully painting a photographic image, and then used a squeegee to scrape away parts of the subject. This process, similar to slow development in photography, causes the image to lose its clarity and merge with the colour. In “Återblick”, this results in a landscape that appears diffuse and dissolved, with every detail fading into soft layers of red, giving the painting an almost dreamlike quality.
In the auction’s painting, the colour red plays a central role in creating both visual depth and emotional resonance. “Återblick” is a journey through time and emotions, where the artwork not only reflects a past landscape, but also makes us think about how we relate to the irrevocable flow of time.
243. Ola Billgren (Sweden, 1940–2001) “Återblick”.
Signed Ola Billgren and dated -97. Oil on canvas 150 x 161 cm.
Provenance: Private Collection, Sweden.
Estimate: SEK 600 000 – 800 000 / EUR 54 450 – 72 600 (d)
244. Peter Frie (Sweden, 1947–) Untitled.
Signed P Frie verso. Oil on canvas 89 x 121 cm.
Estimate: SEK 125 000 – 150 000 / EUR 11 350 – 13 620 (d)
245. Fredrik Wretman (Sweden, 1953–) “Minitrans”.
Signed Fredrik Wretman and dated 2005 III. Polyurethane. Height 29 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
246. Carl Hammoud (Sweden, 1976–) “Pass”. Executed in 2007. Pencil on paper 21 x 12 cm.
Provenance: Galleri Magus Karlsson, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
247. Rolf Hanson (Sweden, 1953–) “Nunc et Diende”. Signed Rolf Hanson and dated 2020 verso. Panel 202 x 83 cm.
Provenance: Galleri Hedenius, Stockholm.
Exhibitions: Galleri Hedenius, Stockholm, “Rolf Hanson - NUNC et DIENDE”, 9 September – 9 October 2021.
Estimate: SEK 200 000 – 250 000 / EUR 18 150 – 22 690 (d)
Ernst Billgren
”From Adrianople to Astrabad” from 2006 is a central work in Ernst Billgren’s oeuvre. The painting serves both as a manifesto of his thematic world and a summary of the blind alleys he has laid out for viewers over his career. Its monumental format and impressive richness of detail immediately transport us into his playful and peculiar realm, populated by his characteristic animal figures.
The painting was included in Billgren’s acclaimed exhibition ”Tjuvar” (Thieves) at Galleri Lars Bohman in Stockholm in 2006, where he allowed the animals, with their carefree expressions and splendid attire, to take centre stage in the sophisticated environments of humans. The catalogue was cleverly arranged, and the paintings were accompanied by excerpts from interrogation protocols from investigations of thefts, where the thieves, with all manner of absurd excuses, attempted to justify their actions. In connection with the release of the graphic portfolio ”Tjuvar” in 2007, Billgren commented: ”Like a thief in the night, nature enters our homes without first knocking on the door, just as we once took over nature, felled its trees, dug holes in the mountains, and stole the inhabitants of the forest; it now stands stamping in our porches for a return visit. What are they doing here? What will they take with them? Like thieves in the afternoon, the animals have dressed in their finest clothes to reclaim what they perceive as theirs and can lay their paws on. Is it time to flee into the forest?”
As a debater, author, furniture designer, and filmmaker, Ernst Billgren has made an undeniable mark on contemporary art, not least with his questioning of the concept of art. Even as a young student at Valand Academy of Art and Design in the 1980s, he made a strong impression on both fellow artists and the faculty. He invited students, teachers, and professors to a performance with the question ”What is the difference between good and bad art?”. The turnout was large, and it ended with a lively discussion, with Billgren as moderator, where both teachers and students expressed their opinions. Since then, he has continued to fascinate and surprise both the informed art audience and a broader public with his use of unconventional methods and his many references to art history. Both as an artist and a debater, he has constantly posed questions about what art is, what its purpose is, and where its boundaries lie. He continually challenges established patterns, and his art often becomes semantic inquiries into what the definitions of our most ingrained concepts are—and perhaps what they ought to be.
Inspired by the Brothers Grimm’s fairy tales, animals early on became a tool for Billgren. In his book ”What is Art and 100 Other Very Important Questions,” he posed the question he claims he is most often asked: ”Why are you so interested in foxes?”. The answer was: ”Short answer: Which foxes? Long answer: If you enter a chemist’s laboratory, you will surely discover lots of test tubes, and you might conclude that he is interested in test tubes. But I don’t believe that. He is probably after discovering a new enzyme or element, or finding a cure for some disease. The test tubes are tools, and he likely does not see them at all and has no interest in them or in foxes.”
From spring to autumn 2025, Ernst Billgren will be featured with several new works in the exhibition ”Ernst Billgren – New Memories” at the Nationalmuseum in Stockholm.
248. Ernst Billgren (Sweden, 1957–) “Från Adrianopel till Astrabad”. Signed EB. Executed in 2006. Oil on panel in artist’s frame 174 x 183 cm.
Provenance: Galleri Lars Bohman, Stockholm, “Tjuvar”, 2 September - 1 October 2006.
Literature: Galleri Lars Bohman, “Ernst Billgren - Tjuvar”, 2006, illustrated full-page p. 21.
Estimate: SEK 600 000 – 800 000 / EUR 54 450 – 72 600 (d)
249. Lena Cronqvist (Sweden, 1938–) Untitled. Signed L.C. and numbered 3/4. Painted bronze, height 17 cm.
Provenance: Lars Bohman Gallery, Stockholm.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
250. Ernst Billgren (Sweden, 1957–) “Naturlig uppvisning”.
Signed EB. Executed in 2011. Oil on panel 107 x 142.5 cm.
Provenance: Lars Bohman Gallery, Stockholm.
Exhibitions: Cologne Art, “45th ART COLOGNE”, 13 - 17 April 2011 with Lars Bohman Gallery.
Estimate: SEK 125 000 – 130 000 / EUR 11 350 – 11 800 (d)
251. Clay Ketter (Sweden, 1961–) “Folded Factory Town”. Signed Clay Ketter and dated 2006 verso. Mixed media on panel 186 x 160 cm.
Provenance: Galleri Thomas Wallner, Simris.
Exhibitions: Galleri Thomas Wallner, Simris, “Clay Ketter : Abstraktion 2005–2018”, 21 July - 26 August 2018. Sonnabend Gallery, New York, 2007/2008.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350 (d)
Mamma Andersson
The title 'Storverk' (Masterpiece) refers to the painting within the painting, depicted on the easel. It is a section of the work 'The blank memories always open from the south' from 2002. The whole work, a repetition in four sections which was shown at the Venice Biennale in 2003, has a length of 280 cm. The title is ambiguous, it also refers to the depicted city 'Mandu' also called 'City of Joy' in the state of Madhya Pradesh in Central India. Mandy was founded around 600 BC and is today a wellpreserved ghost town, glorified and romanticised. A 45 km long fortified wall surrounds the city's palaces and mausoleums. Mamma Andersson saw a photograph of Mandu - she found it in an old book about India, which inspired her to do the painting. Mamma Andersson has said that we are surrounded by 'memory gaps' in the form of buildings or objects, a kind of memory bank around us. Sometimes we experience a memory gap opening, only to quickly close again, sometimes archaeologists can unearth an entire community.
'I remember so well when I painted this one. It took one or at most two days. It was late August and probably forty degrees in my studio in Örnsberg. I couldn't close the curtains, it was south-facing and I was wearing panties and a tank top. I remember the canvas came from Dramaten, a friend had given it to me. It had a dry absorbent primer and the oil spread on the surface. I painted with traditional oil paints, sprayed with solvent, and then I swept with a soft brush to get the shadows. It was difficult but fun. Very nice canvas to paint on, unusual.'
252. Mamma Andersson (Sweden, 1962–) “Storverk”.
Signed Mamma Andersson and dated 2002 verso. Oil on panel 63.5 x 80.5 cm.
Provenance: Galleri Magnus Karlsson, Stockholm. Acquired in 2003.
Estimate: SEK 300 000 – 400 000 / EUR 27 230 – 36 300 (d)
Rolf Hanson
Lars Nittve writes in the foreword to the exhibition ”Rolf Hanson - Retroactive” at Artipelag in 2021.
“I think about Rolf Hanson’s colors. What is it that makes one always recognize a painting by Hanson – despite them appearing outwardly different? Often abstract, rhythmic, somehow intricately pieced together, thoroughly kneaded, but sometimes, as we’ve seen, also skewedly figurative, remarkably halting, yet still whole? The color schemes can, as we’ve noted, vary from the almost monochromatic, perhaps heavily, darkly red like the triptych Beoumga (1991), to completely bursting with color, like a firework display. Yet there remains a certain thread connecting works from Woolai to later beauties like Hic et Num 2015 and Hic et Num 2013. One can certainly recognize a preference for certain colors, such as golden ochre and perhaps different shades of blue or oxblood red, but it’s mostly about the tonality in various chords, right? Again, this jazz?”
Lars Nittve likens Rolf Hanson’s painting to a form of virtual jazz, a sophisticated musical genre with great complexity and variation. In today’s accelerating world of visual image consumption, viewers seek to move beyond the superficial, drawing deeper stimulation from the complex interplay between disparate components within a work.
In the series Superficie Picturata, Rolf Hanson returns to a color palette reminiscent of the 1980s. Warm orange, dark red, and sections of golden ochre are balanced with accents in grey-blue, stabilizing the composition. The spatial depth in the background seems blocked, and Hanson once again achieves a compact visual surface. The title Superficie Picturata suggests just that—a painted surface or a superficial painting. Yet the result is anything but superficial. Hanson’s painting holds a glowing abstract expressionism, where the color fields are pieced together in a multifaceted rhythm. The bold and individualistic style, combined with the large format, overwhelms the viewer.
Since his first major solo exhibition at the Moderna Museet in Stockholm in 1985, Hanson’s painting has generated significant interest. In 1988, he was chosen to represent Sweden at the Venice Biennale, and in 1995, it was time for his next museum exhibition, this time at Rooseum in Malmö, where Lars Nittve was director and curator. This was followed in 1998 by an exhibition at Kunsthalle Düsseldorf. In 2006, another museum exhibition was held at Dunkers Kulturhus in Helsingborg. Today, Rolf Hanson is one of the most important artists of his generation in Swedish art, and in 2021, ”Rolf Hanson Retroactive” opened at Artipelag outside Stockholm, the most extensive exhibition of his works to date.
253. Rolf Hanson (Sweden, 1953–) “Superficie Picturata”. Signed Rolf Hanson and dated 2006 on verso. Panel 198 x 185 cm.
Provenance: Bukowski Auktioner, Contemporary Art + Design 558, 17 November 2010, lot 329.
Exhibitions: Konsthallen Hishult, “Nya målningar”, 29 April - 2 July 2006.
Estimate: SEK 250 000 – 300 000 / EUR 22 690 – 27 230 (d)
254. Dan Wolgers (Sweden, 1955–) “Life and Death (Self-portrait)”.
Signed Dan Wolgers and dated 2004. Mixed media, height 37 cm. Pedestal in painted wood with an accompanying glass dome, width 40 cm, depth 40 cm, height 145 cm.
Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
255. Ernst Billgren (Sweden, 1957–) “Litet vardagsrum II”.
Signed EB. Executed in 1994. Oil on panel in artist’s frame 77 x 105.5 cm.
Estimate: SEK 50 000 – 75 000 / EUR 4 540 – 6 810 (d)
256. Peter Frie (Sweden, 1947–) “Abstract painting with Landscapes nr 2”.
Signed P Frie and dated 2016 verso. Oil on canvas in artist’s frame 90 x 170 cm.
Provenance: Gallerie Arnstedt, Östra Karup.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350 (d)
257. Håkan Rehnberg (Sweden, 1953–) Untitled. Signed Håkan Rehnberg and dated 2007 verso. Object, metal and plexi 46 x 37.5 cm.
Provenance: Galerie Nordenhake, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
258. Linn Fernström (Sweden, 1974–) “Skåtthål”.
Signed Linn Fernström and dated 2004 verso. Mixed media on paper 117 x 78 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
Ulrik Samuelson
Ulrik Samuelson studied at Konstfack and the Royal Institute of Art from 1957 to 1962. He later became a professor at the Royal Institute of Art from 1970 to 1978. Samuelson is a recognised representative of the radical artist generation of the 1960s. Nydada, pop, conceptually orientated art and minimalism marked out new paths for the desire to circumvent the conventions and expressions of traditional art. Samuelson's artistic hallmark is refined surfaces, silk, mahogany, shiny black plastic, gold, marble all in exquisite material treatment. Many of his works are symbolically charged, and the images and installations revolve around the contradiction between death and sexuality, desire and decay. His largest work is the decoration of Kungsträdgården underground station, where he reflects history, the present and archaeology in a rock room. In 1991 he was awarded the Prince Eugen Medal and in 1998 first prize in the Carnegie Art Award.
Mårten Castenfors writes:
"Of the three (Björn Lövin, Sivert Lindblom, and Ulrik Samuelson, eds. note), Ulrik Samuelson stands out through a passionate and erotic relationship with subject matter and materials. Samuelson's works are like unabashed orgies in glossy black and silky pink, in water lilies and the marbled elegance from which they originate, with a scent of hay and a mirror-like iron-rich Swedish lake. [...].
During the 1990s Samuelson returned to easel painting, at a time when painting as a form of expression was dismissed by a younger postmodern generation. With exhibitions like 'Blick stilla' in 1993 and 'Enskild väg' in 1996 at Galerie Aronowitsch, Samuelson cleverly emphasized the rich potential of expressive landscape painting. However, it was not ordinary landscape painting that was presented, but rather a more conceptual version where the subjects were either enticingly abstract or lush through a murky asphalt-brown tone, reminiscent of the confined salon painting of the 19th century. At the same time, these paintings engaged in an intense dialogue with Swedish and international art history; in his works, Samuelson spoke as warmly and directly with Kasimir Malevich as with Edvard Munch, Prince Eugen, and Bruno Liljefors. While subtly commenting on the contemporary art debate from his position slightly outside the art world, Samuelson also introduced ambiguous texts in his works, akin to his painter colleague Torsten Andersson. With these contrasting verses, Samuelson achieved further tension in the works, effectively breaking the stillness that seemed to prevail in nature and transitioning into a compelling mental activity. Samuelson's paintings, like his installations, were both cryptic and captivating - constantly inviting visual and intellectual contemplation." (Mårten Castenfors, "Swedish Art of the 20th Century, Part 3, 1970-2000", 2001, pages 49-52).
259. Ulrik Samuelson (Sweden, 1935–) “Sunset Boulevard II”. Signed Ulrik Samuelson and dated 2013 on the stretcher verso. Also signed US verso. Canvas 185 x 195 cm.
Provenance: Galleri Olsson, Stockholm. Sivert Oldenvi Collection, Stockholm.
Exhibitions: Galleri Olsson, Stockholm, “Jubilate Max”, 5 November - 1 December 2013.
Estimate: SEK 150 000 – 200 000 / EUR 13 620 – 18 150 (d)
Anders Krisár
One of the most striking aspects of Anders Krisár’s artistic practice is his way of handling the body as a shared, fragmented object. His sculptures of human figures, which are often hyper-realistic in their anatomical precision yet literally cleaved or manipulated in unexpected ways, evoke an immediate sense of both beauty and discomfort. Krisár’s art is not only a general reflection on the human psyche – it is also deeply personal.
In every moment of the meticulous manufacturing process, the artist strives for perfection. The casting occurs in multiple stages and involves various materials: clay, wax, plaster, polyester resin, fiberglass, and oil paint. The surface of the finished sculpture is hand-painted, resulting in an almost artificial perfection, while the body’s cuts and separations testify to an underlying inner tension. The restrained colour palette and the clean forms create a visual clarity where minimalism enhances the psychological intensity of his art. The viewer is compelled to focus on the invisible: the pain, sorrow, and psychological scars that shape us as humans.
Krisár uses the human body and his family-related experiences as a starting point to explore identity, trauma, and fragmentation. The model Johan, who appears in several of Krisár’s works, is the nephew of his wife Jeanette. In the current sculpture, the young boy holds his other half in his hand but remains irrevocably cleaved. The split appears brutal in contrast to how tenderly he is portrayed. By manipulating and fragmenting the body, Krisár makes these inner states visible in a way that is both subtle and striking.
Anders Krisár’s sculptures can be interpreted as a metaphor for humanity’s search for wholeness, while also questioning how we perceive and define ourselves.
260. Anders Krisár (Sweden, 1973–) “Untitled”.
Signed Krisár och dated 2011-12. AP 2/2 from an edition of 3 + 2 AP. Acrylic paint on polyester resin and fiberglass, polyurethane, oil paint, wood, screw eyes, steel wire and wire lock. Height 109 cm, width 39 cm, depth 64 cm.
Provenance: Christina & Claes Lindquist Collection.
Estimate: SEK 200 000 – 300 000 / EUR 18 150 – 27 230 (d)
261. Clay Ketter (Sweden, 1961–) “Holy Cow”.
Signed Clay Ketter and dated 1997 verso. Mixed media on panel 121 x 120 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
262. Sigrid Sandström (Sweden, 1970–) “Untitled”.
Signed Sigrid Sandström and dated -06 verso. Acrylic on panel 91.5 x 96.5 cm.
Provenance: Edward Thorp Gallery, New York. Private Collection, Sweden. Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
263. Ellisif Hals (Norway, 1981–) “Byggnad #6”. Executed in 2013. Collage of drypoint prints 51 x 79 cm.
Provenance: Annaellegallery, Stockholm. The Handelsbanken Art Association, autumn lottery 2013.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
264. Carl Boutard (Sweden, 1975–) “Cactus”.
Signed Carl Boutard and dated 2012 underneath. Bronze, height 15.5 cm. Mounted on white base, total height 18.5 cm.
Provenance: Angelika Knäpper Gallery, Stockholm. Olle Emanuelsson Collection. Bukowski Auktioner, Stockholm, Olle Emanuelsson Collection H063, 6 October 2021, lot. 34. Private Collection, Stockholm.
Estimate: SEK 6 000 – 8 000 / EUR 550 – 730 (d)
265. Per Fhager (Sweden, 1980–) “Kirby’s Adventure”.
Signed PF verso. Executed in 2022. Wool embroidery 154 x 173 cm.
Provenance: Acquired directly from the artist by the present owner.
Exhibitions: VIDA Museum och Konsthall, Öland, 2022. Gävle Konstcentrum, “Soft Pixels 2”, 3 February – 7 April 2024. Kulturcentrum Ronneby Konsthall, “Soft Pixels 3”, 7 September - 3 November 2024. Jönköpings Läns Museum, “Soft Pixels”, 4 September - 26 November 2023.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
266. Alfred Boman (Sweden, 1981–) Untitled.
Signed Alfred Boman and dated 2013 verso. Mixed media on canvas 210 x 160 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
267. Martin Wickström (Sweden, 1957–) “Lucy in the Sky with Diamonds”. Signed on each part verso with monogram MW and “LDS” I, II and III and dated -97. Work in three parts + sketches by the artist + slides. Part 1: Centre in the installation. Pendulum in stainless steel with transformer, and plexiglass box with Lucy surrounded by a halo of 15 small light bulbs. Total height 78 cm, box 21.5 x 21.5 x 24 cm. Part 2: Wall, installation. Lucy painted on wood sculpture with light box featuring a photograph of an astronaut in space. Height 97, width 50, depth 12 cm. Part 3: Wall installation. Lucy in mirror-reversed contour on painted wood sculpture with light box featuring a photograph of Lucy. Height 97, width 50, depth 12 cm. Two catalogues and sketches (seven A4 sheets, pencil and ink), included.
Provenance: Commissioned from the artist for an office i Stockholm in 1997.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
268. Andreas Eriksson (Sweden, 1975–) “Car passes at 19:53 17/10, 2010”. Signed Andreas Eriksson and dated 2011 verso. Acrylic on aluminium 100 x 85 cm.
Provenance: Galleri Riis, Stockholm.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
269. Lars Englund (Sweden, 1933–) Untitled. Sintred steel, 44 cm in diameter.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
270. Marie-Louise Ekman (Sweden, 1944–)
‘Seven heads, arms, breasts, joints and hands’.
Signed M. L Ekman and dated 2008. Oil on canvas 51 x 70.5 cm.
Provenance: Angelika Knäpper Gallery, Stockholm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
271. Lisa Jonasson (Sweden, 1978–) “Existentiell Progg #2”.
Signed Lisa Jonasson and dated 2007 verso. Collage of paper cut-outs and ink on paper 32.5 x 50 cm.
Provenance: Galleri Mårtenson & Persson, Stockholm.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
272. Filippa Barkman (Sweden, 1983–) “Secret”.
Signed Filippa Barkman verso. Executed in 2009. Crayons on paper 45 x 64 cm.
Provenance: Stene Projects, Stockholm, 2013. Private Collection, Stockholm.
Exhibitions: Stene Projects, Stockholm, 2013.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
273. Ernst Billgren (Sweden, 1957–) “Vapensköld”.
Signed EB. Oil on panel in artist’s frame 135 x 145 cm.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350 (d)
274. Carl Fredrik Reuterswärd (Sweden, 1934–2016) “Non-Violence”.
Signed CFR and numbered 5/8. Steel. Height 55 cm. Length 89 cm. Height including base 75 cm. Lenth including base 115 cm.
Provenance: Bukowski Auktioner, Stockholm, Contemporary Art & Design 602, lot 112. Private Collection, Stockholm. Acquired from the above.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350 (d)
275. Martin Wickström (Sweden, 1957–) “Top Gun”.
Signed Martin Wickström and dated 2001 verso.
Mixed media 26 x 23 x 9.5 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
277. Robert Terry (USA, 1953–) “Summer Trees”.
Signed Robert Terry and dated 2016 verso. Oil on canvas 61 x 46 cm.
Provenance: Bohman-Knäpper, Stockholm.
Estimate: SEK 35 000 – 40 000 / EUR 3 180 – 3 630
276. Clay Ketter (Sweden, 1961–) “Broom Closet Wall #1.B”.
Signed Clay Ketter and dated 2001 verso.
Mixed media on panel 120 x 120 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
278. Dan Wolgers (Sweden, 1955–) “Flykting”.
Signed Dan Wolgers and dated 2004. Mixed media, height 12.5 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
Nathalie Djurberg and Hans Berg
Nathalie Djurberg and Hans Berg’s “Dragon on Pillows” is a striking example of the artist duo’s collaborative multimedia art, in which they combine sculpture, animation and music to create a captivating experience.
”Dragon on Pillow” consists of a colourful dragon resting on a large pile of soft pillows. The sculpture is one of the characters in the animation ‘Am I Allowed to Step on This Nice Carpet?’ from 2018. The dragon’s shape is exaggerated and somewhat grotesque, which is typical of Djurberg’s characteristic clay animation aesthetic. The handmade, tactile expression of the sculpture contrasts with the softness of the cushions, creating a tension between safety and danger. This duality is a recurring theme in the artist duo’s work, often exploring the intersection between innocence and darkness, between beauty and the grotesque. Berg’s accompanying soundscape adds another dimension, enveloping the viewer in an evocative and hypnotic atmosphere. His electronic compositions evoke emotions that alternate between playfulness and anxiety, enhancing the psychological depth of the work.
Nathalie Djurberg and Hans Berg have been collaborating for over two decades, together they have developed a deep symbiosis in their artistic process. Djurberg creates short stop-motion animations and Berg sets them to music in close collaboration. Animations, sculptures and spatial installations form the basis of their work. Relationships between humans, animals and natural forces are the constantly pulsating theme of their scenarios. Surreal worlds that are often grotesque, raw and absurd with a touch of black humour are played out with Hans Berg’s hypnotic music, which evocatively reinforces emotional states and drives the story forward.
Nathalie Djurberg, b. 1978 in Lysekil, received her MFA from Malmö Art Academy in 2002. Hans Berg, b. 1978, comes from Rättvik and is a musician, producer and composer with a focus on electronic music. Today they are both based in Sweden after having lived many years abroad, mainly in Berlin.
Nathalie Djurberg and Hans Berg were awarded the Silver Lion for their presentation at the 53rd Venice Biennale in Italy in 2009, and their work is in several collections around the world, including the Prada Foundation in Milan, Italy, the Museum of Modern Art in New York, USA, the Moderna Museet in Stockholm, as well as in many important international private collections. The duo is constantly exhibiting around the world, and in March 2025 they opened a solo exhibition at the renowned Lisson Gallery in Beijing.
279. Nathalie Djurberg & Hans Berg (Sweden, 1978–) “Dragon on Pillows”. From the video work “Am I Allowed to Step on This Nice Carpet?”. A signed certificate accompanies the lot. Executed in 2018. Fabric, filling, wire, epoxy resin, silicone, paint and wood 112 x 112 x 96 cm inc. base and plexi glass box.
Provenance: Lisson Gallery, London. Private Collection, Stockholm.
Estimate: SEK 700 000 – 900 000 / EUR 63 520 – 81 670 (d)
280. Nathalie Djurberg & Hans Berg (Sweden, 1978–) “Camels Drink Water”.
Signed Nathalie Djurberg. Executed in 2007. Animated film, DVD, 3:45 minutes. Edition 4/4 +2 AP.
Provenance: Gió Marconi, Milano. Private Collection, Sweden.
Exhibitions: Frye Art Museum, Washington, “Nathalie Djurberg”, 24 January - 26 April 2009. Four of the artist’s videos was shown during the exhibition, “Camels Drink Water” was shown 24 January - 13 February. Another example from the edition was shown at Statens Museum for Kunst, Copenhagen, Film festival “CPH:DOX – Artist in Focus: Nathalie Djurberg”, 7 November - 15 November 2009. “Camels Drink Water” was shown toghether with seven other videos by Nathalie Djurberg. Zach Feuer Gallery at Art Basel Miami Beach, “Nathalie Djurberg with Music by Hans Berg & Dasha Shishkin”, 2 - 6 December 2010.
Literature: Fondazione Prada, Milan, Italy, “Nathalie Djurberg - turn into me”, 2008, listed in the catalouge of works on p. 233 and two stills from the film in a centerfold on p. 174–175.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350 (d)
281. Nathalie Djurberg & Hans Berg (Sweden, 1978–) “My Name is Mud”. Signed Nathalie Djurberg. Executed in 2002. Animated film, DVD, 8 min. DVD cover: ink on paper.
Exhibitions: The Malmö Art Academy, MFA graduation exhibition, 2002. Moderna Museet, Stockholm, “Nathalie Djurberg & Hans Berg”, 16 June - 9 September 2018. Another version from 2003 exhibited. Schrin Kunsthalle, Frankfurt, “Nathalie Djurberg & Hans Berg”, 28 February - 26 May 2019. Another version from 2003 exhibited.
Literature: Lena Essling (ed.), “Djurberg & Berg”, 2018, film stills illustrated.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
282. Isca Greenfield-Sanders (USA, 1978–) “Two Waders”. Signed Isca Greenfield-Sanders and dated 2013. Watercolour and colour pencil on paper 35 x 35.5 cm.
Provenance: Wetterling Gallery, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730
283. Olli Lyytikäinen (Finland, 1949–1987) “Pregnant Woman in a Rocking Chair”.
Signed Olli Lyyt. and date 1979. Watercolour, 28 x 38 cm.
Provenance: Galleri Engström, Stockholm.
Exhibitions: Nordiska Akvarellmuseet, Skärhamn, “Olli Lyytikäinen”, 2 March - 4 May 2014.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
284. Einar Thorsteinn (Iceland, 1942–2015) “Your private FANG”.
Signed Einar Thorsteinn and dated 2006, as well as numbered N.004 on the label verso. Produced in collaboration with Studio Olafur Eliasson. Wall object with 4 paintings on canvas and a three-dimensional metal sculpture mounted on a wooden frame, 56 x 56 x 24 cm.
Provenance: Stalke Galleri, Kirke Saaby, Denmark.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
285. Marcel Dzama (Canada, 1974–) “Water Cooler”.
Signed Marcel Dzama. Ink and watercolour on paper 34.5 cm x 17.7 cm.
Provenance: Stalke Galleri, Kirke Saaby, Denmark.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 370
Olafur Eliasson
The deep interest in the combination of art and science, with a focus on urgent climate action, has always been part of Olafur Eliasson’s work. The scientific artworks are strikingly simple and idiosyncratic at the same time. His works are about making us see, feel and think one step further. There is a weight and beauty to Eliasson that puts art in a special world where aesthetics and science form a marvelous alliance. The ideas are sophisticated, but the result is simple and playful. Olafur Eliasson is one of the most significant artists of our time, he is both innovative, provocatively simple while sophisticatedly addressing the most basic existence of man - in his body and in his world.
Born in 1967 in Copenhagen to Icelandic parents, now working in his large studio in Berlin with a dedicated team. Eliasson’s art explores light and colour, geometry and environmental awareness. The issue of climate change is close to his heart and with the artistic expression he has made his own, he allows us to experience and question concepts such as nature and naturalness.
Few artists have had as much public success as Olafur Eliasson. In his art, Eliasson mimics natural phenomena such as fog and sunlight, as in his artificial sunset in the Tate Modern’s Turbine Hall, where audiences flocked in 2003-2004. Eliasson’s works are both intuitively simple, both in terms of materials and the experience itself. The experience of the works is immediate, but behind the apparent simplicity they can also be very technically advanced. In what is probably the most spectacular outdoor artwork ever, he had four waterfalls made and placed around New York City along the East River. The work, which was on view for a few summer months in 2008, is the world’s most expensive public art project of all time. The year before, he organised his major exhibition ‘Riverbed’ at Louisiana in Denmark, where he literally moved Icelandic nature into the museum space.
Olafur Eliasson is constantly relevant worldwide with several parallel exhibitions and is today one of the most sought-after artists around the world with previous exhibitions at: Tate Modern in London, Guggenheim in New York, Fondation Beyler in Basel and at the Venice Biennale to name a few. This year he has several museum exhibitions, including at MOCA in Los Angeles and at Auckland Art Gallery where a major travelling exhibition has just ended.
286. Olafur Eliasson (Iceland, 1967–) “Glass Eye”.
A signed certificate included in lot. Executed in 2005. Mirror, concave mirror, glass, paint, 80 cm in diameter x 10 cm, stainless steel mounting 81.5 cm x 81.5 cm. Edition 2/6 + 1AP.
Provenance: neugerriemschneider, Berlin.
Estimate: SEK 200 000 – 300 000 / EUR 18 150 – 27 230 (d)
287. Peter Blake (Great Britain, 1932–) “M. M. Red, Yellow & Blue”.
Signed Peter Blake and dated 1990 verso. Photographs and enamel paint on panel in artist’s frame 53,7 x 37 cm.
Provenance: Waddington Galleries Ltd, London. Galerie zur alten deutschen Schule, Thun.
Exhibitions: Waddington Custot, London, “Peter Blake: In Homage to Marilyn Monroe”, 28 March - 21 April 1990. Galerie zur alten deutschen Schule, Thun, “Royal Academy Painters”, 20 June - 9 August 1992.
Estimate: SEK 125 000 – 150 000 / EUR 11 350 – 13 620 (d)
288. William Anastasi (USA, 1933–2023) “Subway Drawing”. Signed W. Anastasi and dated 9/7/00. Ink pen on paper 23 x 30.5 cm.
Provenance: Stalke Galleri, Kirke Saaby, Denmark
Exhibitions: Stalke Galleri, Kirke Saaby, Denmark.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540
289. James Brown (USA, 1951–2020) “Natural Science”. Signed James Brown and dated 1994 verso. Canvas 84 x 54.3 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730
290. Jene Highstein (USA, 1942–) Untitled.
Signed Jene Highstein and dated ‘88. Graphite on paper, 104 x 75 cm including frame.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370
291. Joseph Beuys (Germany, 1921–1986) “Objekt zum Schmieren und Drehen”.
Signed Joseph Beuys and numbered 98/100. Executed in 1972. Tin can, lubrication grease, screwdriver, oil paint and glass box with wooden frames. Height 19.5 cm, length 29.1 cm and depth 17.1 cm.
Provenance: Anders Tornberg Gallery, Lund.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
292. Emanuele Becheri (Italy, 1979–) Untitled. Spider web on self-adhesive paper 98.5 x 69.5.
Provenance: Elastic Gallery, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
293. Niki
(France, 1930–2002) “Miles Davis”. Signed
Executed in 1999. Edition 7/8. Painted polyester, gold leaf and aluminum base. Height 44 cm, width 22 cm.
Estimate: SEK 200 000 – 300 000 / EUR 18 150 – 27 230 (d)
de Saint Phalle
Niki de Saint Phalle.
294. Daniel Spoerri (Switzerland, 1930–2024) “BR3 Flüssig feucht (Liquid moisture) (from the Trompe l’oeil series)”
Signed Daniel Spoerri and dated Dec-61 verso. Collage of metal, packages, condom, rubber band, oil on canvas 24.2 x 16.5 cm.
Provenance: Christie’s, London, “Post-War & Contemporary Art”, 14 September 2011, lot. 161.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080
295. Sol LeWitt (USA, 1928–2007) Untitled. Signed Sol LeWitt and dated Stockholm, September 1975 with dedication. Ink on paper 15 x 15 cm.
Provenance: Galerie Aronowitsch, Stockholm.
Estimate: SEK 15 000 – 18 000 / EUR 1 370 – 1 640
296. Udomsak Krisanamis (Thailand, 1966–) “Shark UK 120”. Executed in 1998. Collage and acrylic on cardboard 33 x 26 cm.
Provenance: Gavin Brown’s Enterprise, New York. Stalke Galleri, Kirke Saaby, Denmark.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
297. Katherine Bernhardt (USA, 1975–) “Cocaine
Signed Katherine Bernhardt and dated 2006 verso. Canvas 122 x 122 cm.
Provenance: Loyal Gallery, Stockholm.
Exhibitions: Loyal Gallery, Stockholm, “Kiss Me Kate”, 9 March – 14 April 2007.
Estimate: SEK 200 000 – 250 000 / EUR 18 150 – 22 690
Kate”.
298. Olafur Eliasson & Elias Hjöleifsson (Iceland, 1945–) “Wave Drawing”.
Signed Elias Hjöleifsson and Olafur Eliasson and dated 1995. Ink on paper 66 x 70 cm.
Provenance: Stalke Galleri, Kirke Saaby, Denmark.
Exhibitions: Stalke Galleri, Kirke Saaby, Denmark.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
299. Jan De Vliegher (Belgium, 1964–) “Koi”.
Signed Jan de Vliegher and dated 2007 verso. Oil on canvas 60 x 90 cm.
Provenance: Knäpper + Baumgarten, Stockholm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
300. Klaus Staudt (Germany, 1935–) “In Good Order”. Signed Klaus Staudt and dated 1999 on label verso. From an edition of 5. Painted wood and plexi 49 x 49 x 5 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
Andy Warhol
Bukowskis proudly presents Andy Warhol’s “La Grande Passion” (1984), which encapsulates the breadth of the artist’s oeuvre and showcases his characteristic use of bold colours, repetitive motifs and his ability to turn consumer goods and celebrity images into art.
With his background as an illustrator for fashion brands and magazines, it was natural for Andy Warhol to draw on this imagery in his work. After graduating with a de gree in Pictorial Design from the Carnegie Institute of Technology in 1949, Warhol moved to New York to pursue a career as a commercial artist.
In the 1960s, Warhol began using mass-produced objects as subjects in his art. His breakthrough came with the exhibition at the Ferus Gallery in Los Angeles, where he showed 32 paintings of Campbell’s Soup Cans - a seminal event that marked his transition to contemporary art. In the decades that followed, he became a pioneer of Pop Art, redefining the possibilities of painting and printmaking.
Using striking logos and the familiar visual language of advertising is reminiscent of Warhol’s earlier iconic work with Brillo boxes, Campbell’s Soup cans and Coca-Cola bottles. For Warhol, these brands, despite being products of capitalism, could act as a levelling force in society. He believed that these objects stood for something very democratic and were consumed by both the very rich and the very poor.
Warhol turned against the dominant art movement of the time, abstract expressionism, which emphasised self-reflective and expressive painting.
“The Pop artists made images that anyone walking down Broadway could recognise in a split secondcomic books, picnic tables, men’s trousers, celebrities, shower curtains, refrigerators, Coke bottles - all the great modern things that the Abstract Expressionists tried so hard not to notice at all.” - Andy Warhol
The “La Grande Passion” motif was commissioned by Carillon Importers in 1984 for an advertising campaign for a liqueur to be introduced to the American market. For inspiration, Warhol used his beloved Polaroid Big Shot camera to create the background for the advert. The Polaroid image was developed and transferred to a negative, which formed the basis of the image that was then screen printed. A stylised passion fruit flower, which appeared to be done in different coloured pencils, added another vibrant dimension to the composition.
Carillon Importers, the company behind the liqueur brand, was so pleased with the “La Grande Passion” campaign that Michel Roux, president of Carillon Importers, commissioned a new project from Warhol. In 1985, Warhol created a poster for the launch of the Swedish brand Absolut Vodka in the United States. It was Warhol who introduced the idea of inviting other artists to create their own versions of Absolut, which became one of the most influential campaigns ever. The success of the Absolut and La Grande Passion campaigns is testament to Andy Warhol’s penchant for comics and repetition, his characteristic style of strong, contrasting colours and his collaborative approach.
301. Andy Warhol (USA, 1928–1987) “La Grande Passion”. Signed Andy Warhol and dated -84 on the overlap. Acrylic and silkscreen ink on canvas 101.5 x 101.5 cm. Estate stamp “Estate of Andy Warhol” and numbered PA 22.013 verso.
Provenance: Private Collection, Stockhholm.
Estimate: SEK 2 000 000 – 3 000 000 / EUR 181 490 – 272 240
Andy Warhol, Stockholm 1981. Foto: Sven-Gunnar Holm / SVT.
302. Nandipha Mntambo (South Africa, 1982–) “Sengifikile”.
Signed and dated -09. Numbered 4/5. Patinated bronze, height 80 cm.
Provenance: Andréhn-Schiptjenko, Stockholm.
Exhibitions: Borås International Sculpture Biennial 2014, 23 May - 14 September 2014. Blickachsen Foundation, Germany, “Blickachsen 12, Contemporary Sculpture in Bad Homburg and Frankfurt RheinMain”, 2021.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350
303. Marcia Hafif (USA, 1929–2018) “Cadmium Red”.
Signed M. Hafif and dated 1983 on the overlap. Oil on canvas 97 x 117 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730
304. Luis Fernando Benedit (Argentina, 1937–2011) “Proyecto para un saltamontes, cuatriciclo B”.
Signed Bernedit and dated -76. Watercolour and pencil on paper 70 x 49.7 cm.
Provenance: Galerie Arnesen, Copenhagen.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730
305. Damien Hirst (Great Britain, 1965–) “Untitled (Saturn Spin Painting)”.
Signed Damien Hirst verso. Acrylic on paper 87 x 37 cm. Blind stamp of the artist and stamped “This painting was made by/to celebrate the opening/of Damien Hirst, Requiem, at the Pinchuk Art Centre on April 25–26th 2009.”.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
306. Boyle Family (Great Britain, 1957–) “Small Landslip Study (1)”.
Signed Boyle Family and dated 2001–02 verso. Mixed media, resin and fiberglass 76 x 66 x 19 cm.
Provenance: Sothebys London, Modern & Post-War British Art, 27 May 2019, lot 178. Private Collection, Stockholm.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080
307. Tetsumi Kudo (Japan, 1935–1990) “Fossil in Hiroshima”.
Signed Tetsumi Kudo and dated 1976. Mixed media on paper 65 x 49 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
308. Helmut Middendorf (Germany, 1953–) “Electric Blue”.
Signed and dated 1982 verso. Triptych. Oil on canvas 100 x 240 cm each.
Total dimensions inc. frame 310.5 x 732 cm
Estimate: SEK 400 000 – 600 000 / EUR 36 300 – 54 450 (d)
309. Gioele Amaro (Italy, 1986–) “Placebo Love”.
Signed Gioele Amaro and dated 2023 verso. Ink and varnish on canvas 61 x 45 cm.
Provenance: Galerie Forsblom, Helsinki.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
310. Damien Hirst (Great Britain, 1965–) “Untitled (Heart Spin Painting)”. Stamped with the artist’s signature verso. Acrylic on paper 53 x 49 cm. Blind stamp of the artist and stamped “This painting was made by/to celebrate the opening/of Damien Hirst, Requiem, at the Pinchuk Art Centre on April 25–26th 2009.”.
Estimate: SEK 30 000 – 35 000 / EUR 2 730 – 3 180 (d)
310A. Domenico Bianchi (Italy, 1955–) “Globe”.
Mixed media and wax on canvas mounted on panel 203.5 x 139 cm.
Provenance: Lars Bohman Gallery, Stockholm.
Estimate: EK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
311. Beverly Baker (USA, 1961–) ‘Untitled’.
Executed in 2007. Coloured pencil and marker on cardstock 16.2 x 21.5 cm.
Provenance: Andrew Edlin Gallery, New York. Private Collection, Stockholm.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910
313. Rafael Delacruz (USA, 1989–) “Wax 19”.
Signed Rafael Delacruz and dated 19 verso. Acrylic on canvas 28 x 36 cm.
Provenance: Loyal Gallery, Stockholm.
Exhibitions: Loyal Gallery, Stockholm, “Eddie Martinez, Odessa Straub, Rafael Delacruz”, 31 January - 16 March 2019.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
312. Glen Rubsamen (USA, 1957–) “Self Portrait with Foliage”. Signed Glen Rubsamen and dated 2006 Cologne verso. Acrylic on canvas 80 x 80 cm.
Provenance: Mai 36 Galerie, Zürich. Stene Projects, Stockholm. Private Collection, Stockholm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
314. Roman Scheidl (Austria, 1949–) “4 Yellow Freedoms”. Signed Roman Scheidl and dated 2004 verso. Canvas 90 x 122 cm.
Provenance: Galleri Futura, Stockholm. Acquired in 2004.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
Jim Dine
The painting ”In the Harem, Abu Tor” (1979) depicts one of Jim Dine’s most iconic subjects, the bathrobe. Bathrobes have been a central motif throughout Dine’s career as an artist and recur in many of his works. Dine started painting bathrobes in the 1960s. Although he admitted he never wore one himself, they took on the form of self-portrait early on in his career. In an interview in ARTnews in September 1977 Dine described his relationship to the magical bathrobe: “The robes have become much more mysterious than they used to be, and that’s because I understand them more. Obviously, there’s some hidden significance there. But what’s funny is that I don’t own a bathrobe. I don’t wear one. I don’t walk around in one. I never see bathrobes around me, nor do I see people wearing them. I don’t have a bathrobe to paint from. What I use is what I’ve used from the very beginning—a newspaper ad which I clipped out of The New York Times back in 1963. The ad shows a robe with the man airbrushed out of it. Well, it somehow looked like me, and I thought I’d make that a symbol for me. Actually, it all began when I wanted to paint a self-portrait . . . and just couldn’t. It’s important for me to say this, because what I really wanted to do was sit in front of a mirror and paint a portrait of myself. But at the time, I was in analysis and the pressures I felt prevented me from going through with it.”
Jim Dine has been represented by the Pace Gallery in New York since 1976, and this was also where he first exhibited a series of large paintings of bathrobes. The colorful painting ‘In the Harem, Abu Tor’ was completed in 1979, at a time when Dine’s career had truly taken off. In the previous year he had had a retrospective one-man show at the Museum of Modern Art (MoMA) in New York. Several exhibitions were to follow and since then his work has been shown more than 300 times in institutions and galleries around the world.
Jim Dine’s art has been strongly associated with his range of subjects. The recurring motifs include the heart, tools, brushes and Pinocchio, the latter particularly familiar to Swedish audiences thanks to the monumental, much-discussed sculpture unveiled in Borås in 2008. Dine has worked on each series of motifs in a number of different techniques and made them his own. They never involve a simple repetition. Each work is a unique interpretation in its own right.
315. Jim Dine (USA, 1935–) “In the Harem, Abu Tor”. Signed Jim Dine and dated Jerusalem 1979 verso. Canvas 183 x 110 cm.
Provenance: Pace Gallery, New York. Shaindy Fenton, Fort Worth, Texas. Sotheby’s New York, Contemporary Art, 27 February 1990, lot 206. Galleri Kråkeslätt, Bromölla.
Exhibitions: Pace Gallery, New York. Shaindy Fenton, Fort Worth, Texas. Collection Mr. and Mrs. Herbert Glimcher, Colombus, Ohio. Sotheby’s New York, Contemporary Art, 27 February 1990, lot 206. Galleri Kråkeslätt, Bromölla.
Literature: David Shapiro, “Jim Dine”, 1981, listed as plate 38, illustrated p. 43. Pace Gallery, New York, “Jim Dine”, 1980, illustrated in the exhibition catalogue.
Estimate: SEK 800 000 – 1 000 000 / EUR 72 600 – 90 750
Signed DB and dated 96. Mixed media on canvas 244 x 127 cm.
Estimate: SEK 250 000–300 000 / EUR 23 400–28 100
315A. Donald Baechler (USA, 1956–2022) “Parlour”.
Signed DB and dated 02. Also signed verso.
Mixed media and collage on papper 100 x 100 cm.
Estimate: SEK 80 000–100 000 / EUR 7 480–9 360
315B. Donald Baechler (USA, 1956–2022) “A Place In the World (Self Portrait)”.
Donald Baechler
Donald Baechler (1956-2022, USA) is one of our time’s most intriguing artists. Like many of his contemporaries, such as Julian Schnabel, David Salle, and Jean-Michel Basquiat, he combined painting and collage, incorporating existing images into his art. Baechler utilized a deliberately childish visual language in his paintings and sculptures. His gallerist Cheim & Read has described Baechler’s art as follows: ”His repertoire of motifs spans various genres, but they begin as drawings and end up as sculptures, where the motifs finally achieve their definitive three-dimensional volume.”
In an interview accompanying the exhibition ”Sculptures” from 2005 at the Museum of Modern Art in Salzburg, Baechler explains: ”About fifteen, twenty years ago, I was deeply saddened by how I was drawing, so I decided to learn how to draw again as a project, starting from the very simplest movement, in order to reinvent a language of lines and forms. I began looking at children’s art, outsider art, and the whole Dubuffet thing. So when I started making sculptures about ten years ago, I tried to find a way to create forms as if I had never worked with sculpture before. I wanted to try to forget everything I knew about armature and the right way to use clay, the right ways to do everything. Instead, I started using my own hands and squeezing the material to create forms... There is no narrative intention; it is just a reaction to the materials. They look the way they do because that’s how they look. I even think there is less content in the sculptures than there is in the paintings. Less storytelling. They are like mute... It is these discreet and completely silent objects that interest me. I have never been particularly interested in the narratives or the psychology, or all that stuff, that many read into my paintings and probably also into the sculptures.”
315C. Donald Baechler (USA, 1956–2022) “Man with Hat”. Signed Baechler, dated and numbered 3/8 2011. Patinated bronze. Height 204 cm.
Estimate: SEK 800 000–1 000 000 / EUR 74 800–93 500
316. Martin Kippenberger (Germany, 1953–1997) “Castle Hotel”. From the series ‘Hotel Drawings’. Signed M.K and dated ‘90. Mixed media on paper 29 x 20 cm.
Provenance: Galleri Nordanstad - Skarstedt, Stockholm. Private Collection, Stockholm.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
318. Arman (Armand Pierre Fernandez) (France, 1928–2005) Untitled. Signed Arman. Probably executed 1971–72. Unique. Accumulation of Philips radio tubes in resin in plexi box 51 x 30 x 8,5 cm.
Provenance: Galerie Catherine Putman, Paris. Art Multi, Paris. Bukowski Auktioner, Modern Art + Design 636, 16 May 2017, lot 574.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
317. A.R Penck (Germany, 1939–) “Der Theoretiker V”. Signed A. R. Penck and numbered 28/30. Stainless steel, height 34.3 cm. Mounted on a stone base height 4 cm.
Provenance: Purchased by the current owner approximately 20 years ago.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
319. Donald Baechler (USA, 1956–2022) “Bather”. Signed Baechler and dated 82 verso. Mixed media on paper 96 x 90 cm.
Provenance: Anders Tornberg Gallery, Lund.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450
320. Zhao Kailin (China, 1961–) “Woman against green interior”. Signed and dated 1991. Canvas 80 x 65 cm.
Provenance: Kurt Svenssons Konsthandel, Stockholm. Private Collection, Sweden.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450
321. Al Hansen (USA, 1927–1995) “Venus GO GO Girl”. Signed “Al Hansen- NVVK- GOOD HAIR”. Collage on paper 35.5 x 31 cm.
Provenance: Stalke Galleri, Kirke Saaby, Denmark.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
322. Sandro Chia (Italy, 1946–) “Blue Head”. Signed Chia and dated -83, numbered 1/1 AP from a total edition of 14 + 1AP. Bronze with blue patina and acrylic, 99 x 51 x 35 cm. Unique painting. Foundry mark Fonderia d’Arte Luigi Tommasi, Pietrasanta.
Provenance: Jan Eric Löwenadler, Stockholm. Acquired from the above by the present owner.
Exhibitions: “Sandro Chia”, Akira Ikeda Gallery, Tokyo, 9–28 April 1984, another example exhibited cat. no. 3 (titled Head Barely Painted).
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
Provenance: Lars Bohman Gallery, Stockholm.
Exhibitions: Lars Bohman Gallery, Stockholm, “The Sadistic Skater, Part I”, February 26 - March 20, 2011.
Estimate: SEK 400 000–600 000 / EUR 37 400–56 100 (d)
322A. Bjarne Melgaard (Norway, 1967–) “Untitled”. Executed in 2011. Edition 3. Bronze. Height 120, width 95, depth 35 cm.
Provenance: Berengo Studio, Venice. Private Collection, Stockholm. Acquired from the above in 2016.
Estimate: SEK 350 000 – 400 000 / EUR 31 760 – 36 300 (d)
323. Tony Cragg (Great Britain, 1949–) “Vortex”. Signed Tony Cragg. Unique. Glass, height 53 cm.
323A. Marta Minujín (Argentina 1959–1989) “Apolo fragmentado”.
Signed M. Minujín. Plaster 48 x 39 x 31 cm
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
324. Hunt Slonem (USA, 1951–) “Rebirth”.
Signed Hunt Slonem and dated 7–84 verso. Canvas 152.5 x 122 cm.
Provenance: Acquired directly from the artist by the present owner.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
325. Vladimir Velickovic (France, 1935–) “Abîme. Fig. VII”.
Signed Velickovic and dated 1980 verso. Canvas 146 x 198.5 cm.
Provenance: Acquired directly from the artist in Paris 1983.
Private Collection, Sweden.
Estimate: SEK 100 000 – 150 000 / EUR 9 080 – 13 620 (d)
326. Erró (Gudmundur Gudmundsson) (Iceland, 1932–)
“The Doorbell”.
Signed Erró and dated -65 verso. Canvas 97.5 x 146 cm.
Estimate: SEK 125 000 – 150 000 / EUR 11 350 – 13 620 (d)
327. Peter Klasen (Germany, 1935–) “Camion Bleu/Jaune R65”.
Signed Klasen. Acrylic on panel 40.7 x 30 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
328. Peter Klasen (Germany, 1935–) “A/Fond Vert”.
Signed Klasen. Acrylic on panel 40.7 x 30 cm.
Estimate: SEK 18 000 – 20 000 / EUR 1 640 – 1 820 (d)
328A. Peter Beard (USA, 1938–2020) “Lake Magali, Kenya”. Signed Peter Beard. Collage and mixed media on paper 19.5 x 23.5 cm. With dedication “Greetings 2 Maria & lots love from Peter Beard // Hog Ranch Box 47616 Nairobi, Kenya”.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
Christina & Claes Lindquist Collection
It all started when the Lindquists saw some exhibitions in London and Paris in the early 2000s. There they were surprised by how exciting photography was compared to paintings, which they had previously collected on a smaller scale. Claes and Christina explain:
‘The first two works we bought were one by David LaChapelle in colour and one by Herb Ritts in black and white. When we hung them up at home, all the guests in our home stopped, looked at them and asked questions. This had never happened before, even though we had a fair number of high-quality paintings by famous Swedish artists. The photographs created interest and curiosity; they stood out in our home.’
Since then, the couple’s photo collection has grown. The Lindquist Collection is now one of the largest Swedish art collections with more than 550 photographs of high international quality. The majority of the names represented are famous fashion photographers, but some 50 Swedish photographers are also included. Lindquist’s photographs have been exhibited around the world, including at Louisiana in Denmark, The Museum of Modern Art in New York, and Abecita Popkonst and Foto in Borås. In 2021, Claes and Christina Lindquist opened Falsterbo Photo Art Museum with the aim of giving southern Sweden a new focal point for photographic art. Their private collection forms the basis for the museum’s exhibitions.
You’ve seen a lot of photography during your years as a collector, what is it that makes you attracted to a specific motif?
‘We are interested in what stands out, what is unique. The photographs can be slightly provocative, and we like to go our own way. We are not ‘go with the flow’ kind of people, who just buy and collect what everyone else has. We focus our collecting on internationally recognized photographers with works of the absolute highest quality, exhibited in the largest museums worldwide, but also new exciting names that are on the rise. We are also happy to add exciting Swedish photographers.’
When asked if Claes and Christina have any personal favourites in their collection, they immediately mention Herb Ritt’s motif ‘Naomi Seated, Hollywood, 1991’ and go on to say that they have three copies of this motif in their collection, one of which they are now selling. In addition, everything by Helmut Newton is a favourite, besides those now sold at Bukowskis, they own another sixty of his pictures. Now they are thinning out their large collection, duplicates are sold and artistry is getting updated, making room for new purchases.
Do you have any advice for someone who wants to start collecting photography?
‘Always buy only original limited edition photographs. Buy from reputable galleries in Berlin, Paris, London and New York. In Sweden, there are also a number of very good photo gallerists. If you buy at auction, buy from large, well-known auction houses. Buy something that not everyone else has, stand out, create your own personal style. Be courageous!”
The Christina & Claes Lindquist Collection includes catalogue numbers 260 and 329-361.
329. Terry O’Neill (Great Britain, 1938–2019) “Naomi Campbell, New York”, 1991.
Signed Terry O’Neill and numbered 3/50. Digital Lambda print, image 53 x 52.5 cm. Including frame 90 x 88 cm.
Provenance: Bukowski Auktioner, Contemporary 564, November 2011, lot 322. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
330. Hasse Persson (Sweden, 1942–) “Bob Dylan”, 1966.
Signed Hasse Persson and dated 2012 verso.
Toned C-print mounted on acrylic glass, diameter 40 cm.
Provenance: Bukowski Auktioner, Vårens Contemporary 567, May 2012, lot 280. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
331. Chen Man (China, 1980–) “Self Portrait”, 2014.
Signed Chen Man and dated 2014, numbered 1/7, on label verso. C-print 173.5 x 134.5 cm including frame.
Provenance: CF HILL, Stockholm. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
332. David LaChapelle (USA, 1963–) “Kim Basinger as an Angel”, 1990.
Signed David LaChapelle and dated 90, numbered 1/5, verso. C-print, image 47.5 x 38 cm.
Provenance: Heather James Fine Art, New York. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
334. Denis Piel (France, 1944–) “Imagination”, 1982.
Signed Denis Piel. Also signed Denis Piel and dated 1987, numbered 7/21, and stamped copyright Denis Piel verso. Vintage. Gelatin silver print, image 29 x 36.3 cm. Sheet 40.3 x 50 cm.
Provenance: Bukowski Auctions, Spring Contemporary 567, May 23, 2012, lot 350. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo. Staley Wise Gallery, New York, “Encounters”, 2003, another example exhibited.
Literature: Denis Piel, Polly Allen Mellen and Donna Karan, “Denis Piel: Moments”, 2012, illustrated.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
333. John Rankin Waddell (Great Britain, 1966–) “Gloved Heidi”, 2006. Signed Rankin and dated 2017 on the certificate verso. Edition 2/5. Archival Lambda Print, image 152 x 122 cm.
Provenance: Camera Work, Berlin. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
Hans Gedda
Hans Gedda has been one of Sweden’s leading portrait photographers since the late 1960s. He is known for his intimate portraits of some of the greatest icons of our time, from politicians and kings to actors and musicians. His photographs can be found in the Moderna Museet collection and in the National Portrait Collection.
In February 1990, Mandela made his first trip abroad after his release from Pollsmore Prison in Cape Town. He travelled to Sweden. Hans Gedda was commissioned by Göteborgs Posten to take some pictures of Mandela. The photo with the fist, which is the most famous, was published on a full page. The picture was taken in a hurry at the Ministry of Foreign Affairs in Stockholm. The then Foreign Minister Sten Andersson was holding the flash. Gedda took a maximum of ten exposures in total. He followed his rule of not printing unnecessarily. There was also little time, an important meeting was waiting. No one remembers what the meeting was about. But few people forget the pictures.
Hans Gedda himself has described the photo session as follows:
‘It was in 1990 that I photographed Nelson Mandela and took the first portrait of him after he was released after 27 years in prison. It was incredible to meet Mandela. The adrenaline was rushing, it was magical to see him come into the room. I almost thought I was dreaming, I had to pinch myself. I have not experienced that since then.
The clenched fist is the ANC’s gesture for freedom. I saw a picture in a newspaper showing Mandela stepping out of the aeroplane at Arlanda and it looked like he was making the gesture of freedom on his forehead. I thought it was a good idea, but I didn’t know if I would dare ask him. It was a bit controversial.
But when I asked him, he just laughed and thought I was crazy. We had an almost childlike connection and laughed at each other.’
335. Hans Gedda (Sweden, 1942–) “Nelson Mandela” 1990. Signed Hans Gedda and numbered 4/10. Printed in 2012. Gelatin silver print, image 109 x 109 cm.
Provenance: Galleri Final, Malmö. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo. Nationalmuseum at Konstakademin, Stockholm, “Hans Gedda”, 5 December 2013–30 March 2014, another example exhibited. Literature: Hans Gedda, Magnus Olausson and Eva-Lena Karlsson, “Det tredje ögat”, Nationalmuseum 2013, illustrated on p. 101.
Estimate: SEK 180 000 – 220 000 / EUR 16 340 – 19 970 (d)
336. Anders Petersen (Sweden, 1944–)
“Lily & Rose, Café Lehmitz, Hamburg”, 1970.
Signed Anders Petersen and dated 2002 verso. Gelatin silver print, image 33 x 22 cm. Sheet 38.6 x 29.1 cm.
Provenance: Galleri Final, Malmö. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Literature: Anders Petersen, “Café Lehmitz”, 2004, illustrated full-page p. 32 and on the cover. Anna Tellgren (ed.), “Åter till verkligheten. Fotografi ur Moderna Museets samling”, 2010, illustrated full-page p. 144. Urs Stahel, Hasse Persson, Patric Leo and Anders Petersen, “Anders Petersen”, 2013, illustrated on the cover and on p. 329. This motif also appears on the cover of Tom Waits’s album “Rain Dogs”, 1985.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
337. Carl Johan De Geer (Sweden, 1938–)
“Marie-Louise Ekman i egna kläder, Paris 1967”.
Signed Carl Johan De Geer and dated 1967–2013, numbered 2/5, verso. C-print, image 73 x 109 cm.
Provenance: Stockholms Auktionsverk, Nutida, 15 May 2013, lot 162. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
338. Carl Johan De Geer (Sweden, 1938–)
“Marie-Louise Ekman and Gunilla Axén in Paco Rabanne, Paris 1967”.
Signed Carl Johan De Geer and dated 1967–2013, numbered 2/5, verso. C-print, 112 x 75 cm. Including frame 140 x 100 cm.
Provenance: Stockholms Auktionsverk, Nutida, 15 May 2013.
Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
339. Ewa-Mari Johansson (Sweden, 1953–) “Kate Moss”, 1995.
Signed Ewa-Mari Johansson and dated -95, numbered 1/15.
Pigment print, image 44 x 29 cm.
Provenance: Galleri Final, Malmö. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
340. Ewa-Mari Johansson (Sweden, 1953–) “Naomi Campbell”, 1995.
Signed Ewa-Mari Johansson and dated -95, numbered 1/15. Pigment print, image 45 x 29 cm.
Provenance: Galleri Final, Malmö. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
341. Bruno Bisang (Switzerland, 1952–) “Valeria, Milan, 1999”.
Signed Bruno Bisang and dated July 11, numbered 1/15, verso.
Photographer’s copyright stamp verso. Gelatin silver print, 100 x 80 cm.
Provenance: Young Gallery, Bryssel. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
Gerhard Richter
One of the greatest artists of our time, Gerhard Richter has moved freely between genres throughout his long career. Over the past 25 years, he has been honoured with numerous prestigious awards and exhibitions and has achieved record prices at international auctions.
This limited edition photograph, published by Marian Goodman Gallery, is based on a photograph he took of his youngest daughter Ella in 2006. The original photograph was the model for his famous 2007 painting of the same name. The painting, oil on canvas 40 × 31 cm, belongs to a private collection but was at one time on loan to the Metropolitan Museum of Art in New York.
Gerhard Richter often works in series and it is not unusual for him to start with a photograph, create a painting and then duplicate his original work by making photographs and editions after his paintings. In his exhibitions, the same subjects are often shown side by side in different techniques. Throughout his career Richter has explored painting through an experimental and imaginative approach to its materials and techniques. His oeuvre ranges from realistic works based on found images and photographs to abstract paintings made with a rubber squeegee, two- and three-dimensional glass works, abstract drawings and painted photographs of everyday subjects. Portraits have been an important part of Richter’s work since the 1960s. The models have been diverse, ranging from celebrities and icons of popular culture to family and friends. His portrait of Ella references two of his earlier works. One is the 1996 self-portrait and the other is one of his most famous paintings, ”Betty” (663-5). The latter shows his eldest daughter, Babette, in a red and white patterned dressing gown with her head turned away. This work inspired the Swedish artist Anneè Olofsson, among others.
342. Gerhard Richter (Germany, 1932–) “Ella”, 2014.
Signed Richter and numbered 24/32. Total edition of 32 + 4 AP. Printed in 2014 by Marian Goodman Gallery. Fine Art Digital Ink Jet Print mounted on dibond and framed, image 40.5 x 31 cm. Including frame 55.5 x 45 cm.
Provenance: Lindqvist Contemporary, Stockholm. Christina & Claes Lindquist Collection.
Exhibitions: Another example exhibited: Collectors Room, Berlin, “Kirchner - Richter – Burgert”, 11 September - 3 November 2019. Dallas Museum of Art, Dallas, “From Düsseldorf to Dallas: Postwar German Art in the DMA Collection”, 21 October 2018 - 27 January 2019. Palazzo Te, Mantua, Italy, “Annunciations. Titian - Gerhard Richter”, 7 October 2018 - 6 January 2019. Kunstmuseum Bochum, Bochum, Germany, “Doing identity: the Collection Reydan Weiss”, 25 November 2017 - 4 February 2018. Folkwang Museum, Essen, Germany, “Gerhard Richter: The Editions”, 7 April - 30 July 2017. Museum Ludwig, Cologne, “Gerhard Richter: New Paintings”, 9 February - 1 May 2017. Philadelphia Museum of Art, Philadelphia, “Embracing the Contemporary: The Keith L. and Katherine Sachs Collection”, 28 June - 5 September 2016. Galerie Neue Meister, Albertinum, Staatliche Kunstsammlungen Dresden, Dresden, “Gerhard Richter. Neupräsentation im Albertinum”, 28 February - 27 September 2015.
Literature: Julia Krings and Stella Weidner (ed.), “Doing identity: Die Sammlung Reydan Weiss”, 2017, illustrated. Sarah Noreika (ed.), “Embracing the Contemporary”, 2016, illustrated.
Estimate: SEK 350 000 – 400 000 / EUR 31 760 – 36 300 (d)
343. Anton Corbijn (Netherlands, 1955–) “Tina Turner, Dortmund”, 1996. Signed Anton Corbijn and numbered 4/20 on the mat. Lithprint, image 45 x 45 cm. Including frame 69 x 68 cm.
Provenance: Torch Gallery, Amsterdam. Gallery Magnus Åklundh, Lund.
Stockholms Auktionsverk, 22 May 2012, lot 329. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
344. Liu Jin (China, 1971–) “Incident 2002: Young girls (No. 2)”. Signed Liu Jin and dated 2006, numbered 7/10. C-print mounted on aluminum, image 120 x 181.
Provenance: Bukowski Auktioner, Contemporary 564, November 2011, lot 251. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730
345. Helmut Newton (USA, 1920–2004) “Iman, Monte Carlo, 1990”. Signed Helmut Newton verso. Edition 2/10. Gelatin silver print, image 49 x 47.5 cm. Sheet 60.5 x 50.3 cm. Including frame 73 x 71 cm.
Provenance: Private View, Paris. Private Collection, Paris. Christies, Paris, Photographies, 24 May 2022, lot 162. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080
346. Herb Ritts (USA, 1952–2002) “Naomi Seated, Hollywood, 1991”. Signed Herb Ritts and numbered 13/25 verso. Gelatin silver print mounted on cardboard, image 56 x 43 cm. Sheet 60 x 48 cm.
Provenance: Christies, London, Photographs, 15 May 2013, lot 58. Christina & Claes Lindquist Collection.
Exhibitions: Victoria and Albert Museum, London, “NAOMI: In Fashion”, 2024, 22 June - 6 April 2025, another example exhibited. Falsterbo Photo Art Museum, Falsterbo. Fotografiska, Stockholm, “Herb Ritts - In Full Light”, 20 November 2014 - 14 March 2015, another example exhibited. Fondation Cartier pour l’art contemporain, Paris, “Herb Ritts”, 11 December 1999 - 12 March 2000, another example exhibited. Museum of Fine Arts, Boston, “Herb Ritts: Work”, 22 October 1996 - 9 February 1997, another example exhibited.
Literature: Edward Enninful e.a, “NAOMI: In Fashion”, 2024, illustrated. Paul Martineau, “Herb Ritts: L.A. Style”, 2012 illustrated p. 39. Herb Ritts, “Herb Ritts”, exhibiton catalogue Fondation Cartier pour l’art contemporain, 2000, illustrated. Herb Ritts, “Herb Ritts: Work”, 1996, illustrated.
Estimate: SEK 150 000 – 200 000 / EUR 13 620 – 18 150
347. David Drebin (Canada, 1970–) “The Girl in the Red Dress”, 2004. Signed David Drebin and numbered 9/15 verso. C-print, image 51 x 64 cm.
Provenance: Christie’s, London, “Photographs”, 2 November 2011, lot 160. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730
348. Camilla Åkrans (Sweden, 1977–) “Red Shoes and Eiffel Tower”, 2010.
Signed Camilla Åkrans and numbered 3/3 on the certificate verso. Printed in 2017.
Total edition of 3 + 2 AP. C-print 88 x 116 cm.
Provenance: CF HILL, Stockholm. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo, “Camilla Åkrans”, 2024.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
Steve McCurry
Steve McCurry’s many travels around the world have brought us unforgettable images from places like India, Pakistan and Afghanistan. His most famous image is the portrait called ”Afghan Girl, Pakistan”, one of the world’s most recognised photographs since it appeared on the cover of National Geographic Magazine in June 1985.
His image, ”Boy in Mid-Flight, Jodhpur, India, 2007”, was taken in one of the winding alleys that make up the city of Jodhpur. McCurry has photographed the famous blue city on several occasions, colourful and mysterious subjects. The blue buildings of Jodhpur are often associated with Lord Shiva (the lord of divine energy) and his followers, the Brahmins, who consider the colour sacred. Some theories attribute the blue colour to the presence of copper sulphate in the original white paint of the buildings, or to the indigo trade around Jodhpur in colonial times. In McCurry’s photograph, the blue walls are covered in red handprints, which are often placed after animals have been sacrificed during religious ceremonies and are believed to ward off evil spirits. Although the exact reason for Jodhpur’s blue colour is still unclear, it provides a stunning backdrop to McCurry’s images. This particular motif has been linked to one of the most iconic images in the history of photography, Henri Cartier-Bresson’s 1932 image of a man jumping between pools of water behind the Gare St Lazare
in Paris. A nod from McCurry to Cartier-Bresson, who coined the term ”Images à la sauvette” also known as ”The Decisive Moment” i.e. the art of capturing the moment. In the image of the fleeing boy, McCurry’s timing and composition are perfect. The diagonal perspective gives the impression that the walls are about to fall on him. Like a superhero, the boy is fleeing so fast that he appears to be completely lifted off the ground. Where is he going?
Steve McCurry has won some of the most prestigious awards in the industry, including the Robert Capa Gold Medal. He was recently awarded the Royal Photographic Society Centenary Medal for Lifetime Achievement and in 2019 McCurry was elected to the International Photography Hall of Fame.
349. Steve McCurry (USA, 1950–) “Boy in Mid-Flight, Jodhpur, India, 2007”.
Signed Steve McCurry verso. Numbered 12/90. C-print, image 38.7 x 58.4 cm.
Provenance: Peter Fetterman Gallery, Santa Monica. Phillips, New York, Photographs, 3 April 2013, lot 268. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Literature: Steve McCurry, “The Unguarded Moment - Thirty Years of Photographs”, 2019, illustrated on the cover. Anthony Bannon, William Kerry Purcell, “Steve McCurry: The Iconic Photographs”, 2012, illustrated on spread.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
350. Steve McCurry (USA, 1950–) “Stilt Fisherman, Sri Lanka, 1995”. Signed Steve McCurry verso. Edition 15. C-print mounted on acrylic glass, image 62 x 94 cm.
Provenance: Hamburg Kennedy Photographs, New York. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450
Helmut Newton
Helmut Newton is one of the legends of modern photography. Born in Berlin in 1920, he realised as a child that the allure of a woman was stronger than anything else. With his cool and elegant images, tinged with eroticism and fetishism, he created an unmistakable style that soon made him one of the world’s most innovative and influential fashion photographers. However you interpret his images, there is no denying the enormous influence he has had on fashion photography. His subjects are often staged erotic performances and situations, often with a dominant woman at the centre. His use of low lighting with dramatic shadows creates a sense of drama. He was very impressed by the black and white films he saw of Greta Garbo and Marlene Dietrich, and liked the harsh studio lighting that cast sharp shadows across their faces. Although Newton’s images are fictional scenarios, the style is almost documentary and somewhat reminiscent of paparazzi shots. He has said that what fascinated him about this kind of expression was the illusion of capturing the forbidden and the scandalous - famous people caught in the act.
Helmut Newton’s large black and white images, called ’Big Nudes’, are among the photographic series that form the core of his work. As early as 1980, he created a series of images on this theme, inspired by police identification photos of German terrorists. The project began in Paris and lasted thirteen years. In 1981, Newton left Paris to settle permanently in Monte Carlo, where Nancy La Scala was photographed in 1990.
The model in the photograph, Nancy La Scala (b. 1965), is an American actress who works in film, television series and theatre. She has also had a long career as a model. From a young age, she left the countryside to model in Europe and New York, where she walked the catwalks for YSL, Givenchy, and Christian Lacroix.
Helmut Newton’s large black and white images, known as ”Big Nudes”, are among the photographic series that form the core of his work. As early as 1980, he created a series of images on this theme, inspired by police identification photographs of German terrorists. The project began in Paris and lasted thirteen years. In 1981, Newton left Paris to settle permanently in Monte Carlo, where Nancy La Scala was photographed in 1990.
The model in the photograph, Nancy La Scala (b. 1965), is an American actress who works in film, television series and theatre. She has also had a long career as a model. From a young age, she left the country to model in Europe and New York, walking the catwalks for YSL, Givenchy and Christian Lacroix. She has also appeared in fashion magazines such as Vogue Italia, L’Officiel and Marie Claire. One of her favourite photographers was Helmut Newton. Their popular collaboration has been documented in several of Newton’s books and photo series.
On the occasion of the exhibition at the Museum of Fine Arts, Houston in 2011, a copy of the complete series ”Big Nudes” was acquired for the museum’s collections.
351. Helmut Newton (USA, 1920–2004) “Big Nude VII, Nancy La Scala, Monte–Carlo”, 1990. Signed Helmut Newton verso. Printed in 1990. Edition 2/3. Gelatin silver print, image 198 x 118 cm.
Provenance: Galerie Andrea Caratsch, Zurich. Hamiltons Gallery, London. Sothebys, Paris/New York, Private Sales, July 2022. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo. The Museum of Fine Arts, Houston, “Helmut Newton: White Women / Sleepless Nights / Big Nudes” 3 July – 25 September 2011, another example exhibited. Helmut Newton Foundation, Berlin, “White Women / Sleepless Nights / Big Nudes”, 2 June - 18 November 2012, another example exhibited. Estimate: SEK 1 500 000 – 1 800 000 / EUR 136 120 – 163 340
352. Ralph Nykvist (Sweden, 1944–) “Karnevalen i Venedig”, 1987.
Signed Ralph Nykvist verso. Vintage. Gelatin silver print, sheet 30 x 45 cm.
Provenance: Galleri Final, Malmö. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
353. Ralph Nykvist (Sweden, 1944–) “Riva San Biagio, Venedig”, 1982.
Signed Ralph Nykvist and dated 1982 verso. Vintage. Gelatin silver print, image 18 x 27 cm. Sheet 24 x 30 cm.
Provenance: Bukowski Auktioner, Vårens Contemporary 567, May 2012, lot 337. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Literature: Ralph Nykvist and Anders Petersen e.a, “Karnevalen i Venedig”, 1991, illustrated on spread pl. 6.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
354. Hans Gedda (Sweden, 1942–) “Jonas Gardell”, 1992. Signed Hans Gedda. Gelatin silver print, image 35 x 35 cm.
Provenance: Galleri Final, Malmö. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Literature: Hans Gedda, Magnus Olausson and Eva-Lena Karlsson, “Det tredje ögat”, Nationalmuseum 2013, illustrated on p. 138.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
355. Martin Bogren (Sweden, 1967–) From the series “Lowlands”, 2011. Signed Martin Bogren and numbered 2/3 verso. Gelatin silver print, image 74 x 75.5 cm.
Provenance: Galleri Final, Malmö. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730 (d)
356. Dawid (Björn Dawidsson) (Sweden, 1949–)
From the series “Berlin Bondage”, 2004.
For Berliner Magazine, 2004. Signed Dawid and dated 2004/2018, numbered AP. Total edition of 5 + 2 AP. Pigment print, 100 x 80 cm including the artist’s frame.
Provenance: Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
357. Dawid (Björn Dawidsson) (Sweden, 1949–)
From the series “Berlin Bondage”, 2004. For Berliner Magazine, 2004. Signed Dawid and numbered AP verso. Archival pigment print, 75 x 66 cm including the artist’s frame.
Provenance: Bukowski Auktioner, Contemporary Art & Design 611, October 2018, lot 290. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Literature: Dawid, “Dawid. Jobb. Work”, 2010, illustrated p. 96.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
Lovisa Ringborg
Lovisa Ringborg has her own unique artistic expression; she is a master at capturing moods in her images. She creates her works by carefully combining several different photographs and details into a new whole. The compositions and dark lighting of her works reveal that classical painting is one of her sources of inspiration. She draws on her own image bank, built up over time and consisting of a variety of art historical references from the Baroque to contemporary painting, combined with her own experiences of nature, fragments of dreams and her own life story. Her staged images are more about a semi-conscious state where the line between waking and dreaming is blurred. Yet the images are sharp and detailed, with an evocative mood and a keen sense of nuance.
Lovisa Ringborg works in a variety of techniques, including photography, video and sculpture, which have become increasingly central to her practice. She has had several acclaimed solo exhibitions in Sweden and abroad, including in the United States, South Korea, Switzerland and Finland. In 2019, her book ”Phantom Limbs” was published, which was named one of the winners of Svensk Bokkonst 2019 and included in Lens Culture’s top list of best photo books for 2020.
Susanna Slöör reviewed the exhibition ’Night Remains’ at Cecilia Hillström Gallery, 2017. She describes how Ringborg’s photographs are ambiguous and imaginative, and how she interprets the dark paintings of the Renaissance in her work: ”It is remarkable how the imagery within the works of Lovisa Ringborg, which are on display at Galleri Cecilia Hillström, strikes and decisively shapes one’s impression. The young Renaissance artists Massacio (The Holy Trinity in Santa Maria Novella in Florence) and Uccello (The Fall of Man Suite in Chiostro Verde, a stone’s throw from Massacio’s work) intervene and, for my part, transform the diptychs ’Dancing Wall’ and ’Nesting’ into a dance of death in which the memorial stone has the last word.
The soft rose-green-grey chord contributes to the time travel and the play of forms; silence and inferno coexist and the image suggests both purgatory and the subsequent judgement.”
358. Lovisa Ringborg (Sweden, 1979–) “Dancing Wall” and “Nesting”, 2017. Diptych. Signed Lovisa Ringborg and numbered 3/3 on labels verso. C-print silicone mounted on acrylic glass, 124 x 182 cm and 53 x 182 cm.
Provenance: Cecilia Hillström Gallery, Stockholm. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo. Another example exhibited at: Nationalmuseum, Stockholm, “The Romantic Eye”, 26 September 2024 – 5 January 2025. Galleri Elverket / Pro Artibus, Ekenäs, Finland, “Nested Realities”, 3 June – 23 October 2022. Fotografiska, Stockholm, “Mirage”, 22 april - 28 augusti 2021. Cecilia Hillström Gallery, Stockholm, “Lovisa Ringborg – Night Remains”, 12 January - 18 February 2017.
Literature: Lovisa Ringborg, “Phantom Limbs”, 2019, illustrated. Joanna Persman, review “Night Remains”, Svenska Dagbladet, 19 January 2017, illustrated.
Estimate: SEK 150 000 – 200 000 / EUR 13 620 – 18 150 (d)
359. Sante D’Orazio (USA, 1956–) “Naomi Campbell, NYC, 1991”.
Signed Sante D’Orazio and numbered 8/25 verso. Gelatin silver print, image 48 x 38 cm. Including frame 67 x 57 cm.
Provenance: Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
360. David LaChapelle (USA, 1963–) “Pamela Anderson: Over Easy”, 1998.
Signed David LaChapelle on label verso. Edition 1/10. Digital C-print 60.9 x 50.8 cm.
Provenance: Tony Shafrazi Gallery, New York. Sotheby’s, New York, Contemporary Art, 12 November 2014. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Literature: Patrik Steorn (ed.), “David LaChapelle - Burning Beauty”, 2012, illustrated p. 121.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
361. David LaChapelle (USA, 1963–) ”Deluge, Los Angeles, 2006”. Signed David LaChapelle on the label verso. Edition AP 1/4. Digital C-print mounted on acrylic glass and framed, image 60 x 233 cm. Including frame 67 x 240 cm
Provenance: Christie’s, Paris, Photographs - Icons & Style, 1 July 2014, lot 88. Christina & Claes Lindquist Collection.
Exhibitions: Falsterbo Photo Art Museum, Falsterbo.
Literature: Patrik Steorn (ed.), “David LaChapelle - Burning Beauty”, 2012, illustrated spread pp. 46–47.
Estimate: SEK 250 000 – 300 000 / EUR 22 690 – 27 230
362. Anton Corbijn (Netherlands, 1955–) “Kate Moss, New York”, 1996. Signed Anton Corbijn and numbered 4/20 on the mat. Lithprint, image 45 x 45 cm. Including frame 69 x 68 cm.
Provenance: David Beitzel Gallery, New York. Galleri Magnus Åklundh, Malmö.
Literature: Bernd Skupin, “Anton Corbijn Werk”, 2000, illustrated on p. 71.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
363. Teitur Ardal (Sweden, 1985–) “Mt Fuji”, 2007.
Signed Teitur and numbered 3/9 + 2 AP verso. Printed in 2018.
Selenium-toned gelatin silver print, image 88 x 89 cm. Including frame 109 x 108 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
364. Lars Tunbjörk (Sweden, 1956–2015) “Skara Sommarland, 1989”. From the series “Landet utom sig”. Signed Lars Tunbjörk verso. C-print, image 36 x 45 cm. Including frame 50 x 60 cm.
Provenance: Alain Mingan, Frankrike. Galerie Taylor, Paris. Private Collection, Stockholm.
Exhibitions: Fotografiska, Stockholm, “Tunbjörklandet – blicken från sidan”, 13 September - 1 December 2018, another example exhibited. Strandverket, Marstrand, Fotografier utom sig – Lars Tunbjörk 1956-2015”, 11 June - 25 September 2016, another example exhibited. Galleri Kontrast, Stockholm, “Kyssar”, Pressfotografernas Klubb, 1996, another example exhibited. Nordiska Museet, Stockholm, “Landet utom sig”, 1994, another example exhibited.
Literature: Maud Nycander, Göran Odbratt, Kathy Ryan, “Lars Tunbjörk - retrospektiv”, 2018, illustrated on p. 71. Lars Tunbjörk, “Landet utom sig”, 1993, illustrated on full-page pl. 77.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
365. Cooper & Gorfer (Austria, 1979–) “The Leaving”, 2011. Signed Sarah Cooper and Nina Gorfer on the label verso. Edition 1/6 + 2 AP. Printed in 2011. Archival Pigment Print mounted on dibond and framed, image 65 x 98 cm. Including frame 70 x 103 cm.
Provenance: Christian Larsen, Stockholm.
Exhibitions: Traveling exhibition Hasselblad Center, Gothenburg, Gestalten Space, Berlin, Västerås Konstmuseum, Dunkers Kulturhus, Halmstad, “My Quiet of Gold”, 2011–2012, another example exhibited.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
366. Denise Grünstein (Finland, 1950–2023) “Oskrivet blad 3”, 2020/21.
Certificate issued by the Denise Grünstein Estate accompanies the work, dated 2023. Edition 4/5. Total edition of 5 + 2 AP. C-print silicone mounted on glass 100 x 56 cm.
Provenance: The artist’s family.
Exhibitions: CF HILL, Stockholm, “Denise Grünstein - Nymphaeas”, 26 March - 23 April 2021, another example exhibited. CF HILL, Stockholm, “Denise Grünstein - Minnen i svartvitt”, 29 September - 19 October 2023, another example exhibited.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
367. Hans Gedda (Sweden, 1942–) “Carl XVI Gustaf”, 2010. Signed Hans Gedda and numbered 7/25. Gelatin silver print, image 44 x 45 cm.
Literature: Magnus Olausson e.a, “Hans Gedda, Det tredje ögat”, 2013, compare illustration on p. 106.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
369. Hans Gedda (Sweden, 1942–) “Cornelis Vreeswijk”, 1977.
Signed Hans Gedda. Numbered 12/25 verso. Gelatin silver print, image 39.5 x 39.5 cm.
Provenance: Uppsala Auktionskammare, Internationell Kvalitetsauktion, December 2017. Private Collection, Stockholm. Bukowski Auktioner, Contemporary Art & Design 650, 25 October 2023, lot 224.
Estimate: SEK 35 000 – 40 000 / EUR 3 180 – 3 630 (d)
368. Hans Gedda (Sweden, 1942–) “Hasse & Tage”, 1980.
Signed Hans Gedda. Numbered 3/25 verso. Printed in 2017. Gelatin silver print, image 46 x 34.5 cm.
Provenance: Bukowski Auktioner, Contemporary Art & Design 650, 25 October 2023, lot 225.
Literature: Hans Gedda, Magnus Olausson and Eva-Lena Karlsson,”Det tredje ögat”, Nationalmuseum 2013, illustrated on p. 72.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
370. Per Wizén (Sweden, 1966–) “Blue Suspense”, 2019. Signed Per Wizén on the label verso. Edition 2/5 + 2 AP. Analog collage transferred to photography, silicone mounted on glass and framed, 118.5 cm in diameter including frame.
Provenance: Cecilia Hillström Gallery, Stockholm.
Exhibitions: Cecilia Hillström Gallery, Stockholm, “Trespassers”, 7 November - 14 December 2019, another example exhibited.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
371. Helena Blomqvist (Sweden, 1975–) “Florentine’s”, 2017. Signed Helena Blomqvist and numbered AP 1 on label verso. Total edition of 6 + 2 AP. C-print mounted on acrylic glass 99.5 x 119.5 cm.
Exhibitions: Vida Museum & Konsthall, Borgholm, “On The Ending Of Spices”, 8 July - 3 September 2023, another example exhibited.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
372. Maria Miesenberger (Sweden, 1965–) “Utan titel (Bersån)”, 1993. From the series Sverige/Schweden 1993–96. Signed Maria Miesenberger and dated 1993, numbered 7/10, on label verso. Gelatin silver print, image 28.5 x 44 cm. Including the artist’s frame 53 x 67.5 cm.
Provenance: Galleri Lars Bohman, Stockholm. Bukowski Auktioner, Stockholm, Höstens Contemporary 570, 14 November 2012, lot 234. Private Collection, Stockholm.
Exhibitions: Fotografiska Museet/Moderna Museet, Stockholm, “Prospekt”, 1993, another example exhibited.
Literature: Maria Miesenberger, “Works”, 1998, Galleri Lars Bohman, illustrated spread p. 16–17.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
373. Lotta Antonsson (Sweden, 1963–) “Ponny 1990”. Triptych. Number 1 and 3 signed Lotta Antonsson verso. Analog C-print 48 x 32 cm per part including frame.
Provenance: Galleri Tre, Stockholm. Bukowski Auktioner, Stockholm, Contemporary Art 599, 16 May 2017, lot 131. Private Collection, Stockholm.
Exhibitions: Moderna Museet, Stockholm, “Lika Med”, 1991, another example exhibited. Marabouparken, Stockholm, “Tre fotografer. Tre tendenser”, 31 May – 26 August 2012, another example exhibited.
Literature: Niclas Östlind (ed), “Tre fotografer. Tre tendenser”, 2012, illustrated on spread p. 86–87.
Estimate: SEK 30 000 – 35 000 / EUR 2 730 – 3 180 (d)
374. Bruno Ehrs (Sweden, 1953–) “Skeppsholmen i skymningsljus”, 2018.
From the series “Nationalmuseum i nytt ljus”. Signed Bruno Ehrs and dated 2021, numbered 1/3, verso. Pigment print mounted on acrylic glass, image 90 x 74 cm.
Literature: Helena Kåberg (ed.), “Nationalmuseum i nytt ljus”, 2018, illustrated on full-page.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
375. Bruno Ehrs (Sweden, 1953–) “Nationalmuseum i skymningsljus”, 2018.
From the series “Nationalmuseum i nytt ljus”. Signed Bruno Ehrs and dated 2024, numbered 1/3, verso. Pigment print silicone mounted on glass 110 x 90 cm.
Literature: Helena Kåberg (ed.), “Nationalmuseum i nytt ljus”, 2018, illustrated on full-page.
Estimate: SEK 35 000 – 40 000 / EUR 3 180 – 3 630 (d)
376. Max Modén (Sweden, 1974–) “Greta Thunberg and Barack Obama at the Grand Hotel”, 2019.
Signed Max Modén and numbered 8/35. Pigment print, image 89 x 89 cm. Including frame 113 x 112 cm.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
377. Terry O’Neill (Great Britain, 1938–2019) “Brigitte Bardot, 1971”.
Signed Terry O’Neill and numbered 4/50. Total edition of 50 + 10 AP.
Gelatin silver print, image 94 x 62.5 cm. Including frame 106 x 82 cm.
Literature: Terry O’Neill, “Terry O’Neill: The A-Z of Fame”, 2013, illustrated p. 20.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
378. Albert Watson (Great Britain, 1942–) “David Bowie, The Finger, New York City”, 1996.
Signed Albert Watson and numbered 4/25 verso. C-print, image 60.5 x 47 cm. Sheet 76 x 60 cm.
Estimate: SEK 70 000 – 90 000 / EUR 6 360 – 8 170 (d)
379. Camilla Åkrans (Sweden, 1977–) “Draped Car”, 2009.
Signed Camilla Åkrans on the certificate verso. Edition 1/3 + 2 AP. Fine Art Pigment Print, image 88 x 133 cm.
Provenance: CF HILL + Fotografiska, Stockholm, 2017.
Exhibitions: CF HILL + Fotografiska, Stockholm, 2017. Falsterbo Photo Art Museum, Falsterbo, “Camilla Åkrans”, 2024, another example exhibited.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
380. Anders Krisár (Sweden, 1973–) “Flesh Cloud #1”, 2003.
Signed Krisár and numbered 3/6 verso. Total edition of 6 + 2 AP. C-print mounted on glass 54 x 69 cm.
Literature: Anders Krisár, “Anders Krisár”, 2011, compare p. 105.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
381. Helene Schmitz (Sweden, 1960–) “The Cotton Mill”, 2013.
Signed Helene Schmitz and numbered 3/3 on the label verso. C-print, image 68 x 80 cm. Including frame 79 x 91 cm.
Exhibitions: Fotografiska, Stockholm, “Transitions”, 2 September - 13 November 2016, another example exhibited. Dunkers Kulturhus, Helsingborg, “Borderlands”, 7 February - 17 May 2015, another example exhibited.
Literature: Helene Schmitz and Andri Snær Magnason e.a, “Helene Schmitz Borderlands”, 2018, illustrated on the cover.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
382. Julia Peirone (Sweden, 1973–) “Nike”, 2010.
Signed Julia Peirone on the label verso. Edition AP1. Total edition 5 + 2 AP. C-print 71.5 x 71.5 cm including frame.
Provenance: Belenius, Stockholm.
Exhibitions: Göteborgs Konstmuseum, Gothenburg, “Julia Peirone – Girls, Girls, Girls”, 4 November 2017 – 18 March 2018.
Literature: Johan Sjöström (ed.), “Julia Peirone – Girls, Girls, Girls”, 2017, illustrated.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
383. Inka & Niclas Lindergård (Sweden, 1984–)
“Becoming Wilderness V”, 2013.
Signed Inka Lindergård and Niclas Lindergård, numbered AP 1/3, on the label verso. Archival pigment print 120 x 180 cm. Including frame 128 x 188 cm.
Provenance: Grundemark Nilsson Gallery, Berlin/Stockholm.
Exhibitions: Another example exhibited: Haus am Kleistpark, Berlin, “Extensions”, 18 October – 15 December 2024. Grundemark Nilsson Gallery, Stockholm, “The Belt of Venus and the Shadow of the Earth”, 10 September - 29 October 2016. Grundemark Nilsson Gallery, Photo Basel, Basel, 2015. Grundemark Nilsson Gallery, Context Art Fair, Miami, 2014. Grundemark Nilsson Gallery, Unseen Photo Fair, Amsterdam, 2014. Grundemark Nilsson Gallery, Berlin, “Becoming Wilderness”, 7 September - 19 October 2013.
Literature: Inka & Niclas Lindergård, “The Belt of Venus and the Shadow of the Earth”, 2016, illustrated.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
384. Annika Elisabeth von Hausswolff (Sweden, 1967–)
“Allting hänger ihop ha, ha, ha”, 1999.
Signed Annika von Hausswolff and dated 1999, numbered AP 2, verso. Total edition of 3 + 2 AP. C-print silicone mounted on acrylic glass, 110 x 140 cm.
Provenance: Acquired directly from the artist. Bukowski Auktioner, Contemporary Art 599, 16 May 2017, lot 120.
Exhibitions: ARoS Aarhus Kunstmuseum, “Annika von Hausswolff, It all ends with a new beginning”, 26 April – 11 August 2013, another example exhibited. Magasin III, Stockholm, “Ich Bin Die Ecke Aller Räume”, 9 February - 8 June 2008, another example exhibited.
Literature: Maria Kappel Blegvad (ed.), “Annika von Hausswolff, It All Ends with a New Beginning”, 2013, illustrated on pl. 5. Magasin 3 Konsthall Stockholm, “Ich bin die ecke aller räume”, 2008, illustrated (detail) on spread and illustrated in the catalogue raisonné p. 116. Charlotte Cotton, “The Photograph as Contemporary Art”, 2004, illustrated p. 39. Annika von Hausswolff and Sara Arrhenius, “Annika von Hausswolff in Dialogue With Sara Arrhenius”, 2004, illustrated p. 26.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
385. Helena Blomqvist (Sweden, 1975–) “Group Portrait in Forest”, 2011.
From the series “The Elephant Girl”. Signed Helena Blomqvist and dated 2011, numbered AP 2, on the label verso. Total edition of 6 + 2 AP. Pigment print, image 87 x 108 cm. Including frame 90 x 113 cm.
Exhibitions: ARoS Aarhus Kunstmuseum, “Annika von Hausswolff, It all ends with a new beginning”, 26 April – 11 August 2013, another example exhibited. Magasin III, Stockholm, “Ich Bin Die Ecke Aller Räume”, 9 February - 8 June 2008, another example exhibited.
Literature: Sophie Allgårdh, “Passioner och bestyr : svensk konst på 2000-talet”, SAK, 2011, illustrated on fullpage p. 28. Helena Blomqvist, “Helena Blomqvist”, 2012, illustrated on full-page.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080
Maria Friberg
Maria Friberg's works in the series “Still Lives” revolve around themes such as power, masculinity, and humanity's relationship with nature. Through her art, Friberg challenges preconceived notions of identity, gender, and social hierarchies.
In the motif "Still Lives #3" Friberg has placed a reclining male figure in a charged context – a sea of old books in beautiful leather bindings. Literature and the power of the written word have historically been associated with masculine power. In "Still Lives #3" the traditional perception of masculinity is undermined by the passive pose assumed by the man. The resting male, curled up and introspective, is portrayed as far removed from power, control, and self-consciousness.
"Still Lives #3" was first exhibited at the Armory Show in New York, one of the world's largest art fairs, where thousands of objects are for sale and gallerists and collectors move in an intense flow over a few hectic days. The work garnered significant attention and was highlighted in the media. The artist and her gallerist found themselves surrounded by visitors, collectors and museum representatives eager not to miss the chance to converse with the artist behind the acclaimed photograph. Since then, the motif has lived a life of its own. Maria Friberg continually receives feedback and inquiries from enthusiasts and collectors around the world.
Maria Friberg is one of Sweden's most prominent contemporary artists. She has held solo exhibitions at, among others, the Moderna Museet and Fotografiska in Sweden, as well as at various international venues such as the Santa Barbara Contemporary Arts Forum in California, Conner Contemporary Art in Washington, D.C., and Pi Artworks in London. Her works are represented in many collections, including the Moderna Museet in Stockholm, Kiasma in Helsinki, the Museum of Fine Arts in Boston, and the Denver Art Museum.
The motif "Still Lives #3" was most recently exhibited in the exhibition "Almost There" at the Thielska Galleriet in Stockholm in 2024 – a dialogue between Maria Friberg's acclaimed practice and the museum's collections.
386. Maria Friberg (Sweden, 1966–) “Still Lives #3”, 2004. Signed Maria Friberg and dated 2008, numbered 24/25, verso. Unique in its size. C-Print, laminate, wood 82.5 x 120 cm.
Exhibitions: Another example, in a different size, exhibited at: Conner Contemporary Art, Washington DC, “Still lives”, 2005. Contemporary Art Galleries, University of Connecticut, “Library”, 2005. Kulturhuset, Stockholm, Galleri 3, “Boys Are Us”, 26 January - 13 April 2008. Abecita Konstmuseum, Borås, “Friberg & Hüttner”, 8 November - 1 February 2009.
Literature: Friberg (e.a), “Maria Friberg”, 2008, illustrated pl. 23. Kajsa Widegren, recension Abecita, Expressen, 8 November 2008, illustrated. Friberg (e.a), “Maria Friberg”, 2005, illustrated pl. 2. Estimate: SEK 150 000 – 200 000 / EUR 13 620 – 18 150 (d)
387. Albert Watson (Great Britain, 1942–) “Naomi Campbell, Palm Springs, 1989”.
Signed Albert Watson and numbered 15/25 verso. C-print, image 60 x 47.5 cm. Sheet 76 x 60 cm.
Literature: James Crump, ‘Albert Watson’, 2007, illustrated on full-page.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
388. Russell James (Australia, 1962–) “Smear (Scarlett Johansson)”, 2005.
Signed Russell James on the label verso. Edition 1/7.
Pigment print, image 59 x 44.5 cm. Including frame 76.5 x 61.5 cm.
Provenance: Camera Work, Berlin. Acquired through Fotografiska, Stockholm, by the present owner.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
389. Mikael Jansson (Sweden, 1958–) “Cindy Crawford #2, Los Angeles, 2005”.
Signed Mikael Jansson and numbered 1/3 verso. Printed in 2021.
Digital pigment print, image 60 x 75 cm.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
390. Anton Corbijn (Netherlands, 1955–) “Bono, Miami, (Batman)”, 1995.
Signed Anton Corbijn and numbered 4/20 on the mat. Lithprint, image 45 x 45 cm. Including frame 69 x 68 cm.
Provenance: Torch Gallery, Amsterdam.
Literature: Bernd Skupin, “Anton Corbijn Werk”, 2000, illustrated p. 135.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
391. Ewa-Mari Johansson (Sweden, 1953–) “Birth”, 2003.
Signed Ewa-Mari Johansson and numbered II/II AP.
Gelatin silver print, image 35 x 33.5 cm.
Exhibitions: Milano, 2003. Museo dell’Intreccio, Castelsardo. The State Museum and Exhibition Center ROSPHOTO, Saint Petersburg.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
392. Bruno Ehrs (Sweden, 1953–) From the series “Diptychs & Triptychs, #9”, 2010s. Signed Bruno Ehrs and numbered 02/05. C-print, 123.5 x 185.5 cm including frame.
Provenance: Tres Hombres Art, Halmstad.
Exhibitions: Abecita Popkonst & Foto, Borås, “Bruno Ehrs - On Demand”, 10 October - 19 January 2020, another example exhibited. Tres Hombres Art Gallery, Halmstad, “Good Vibrations”, 2 July - 31 August 2021, another example exhibited.
Estimate: SEK 70 000 – 90 000 / EUR 6 360 – 8 170 (d)
393. Hans Hammarskiöld (Sweden, 1925–2012) “Hon, Niki de Saint Phalle”, 1966.
Edition 2/15. Printed in 2025 by Hans Hammarskiöld Heritage. Pigment print mounted to glass 80 x 80 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
394. Hans Hammarskiöld (Sweden, 1925–2012) “Hon”, 1966.
Edition 2/15. Printed in 2025 by Hans Hammarskiöld Heritage. Pigment print mounted to glass 80 x 80 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
395. Maria Friberg (Sweden, 1966–) “Alongside Us #4”, 2007. Signed Maria Friberg and numbered 5/5 verso. Total edition of 5 + 2 AP. C-print mounted on glass with UV laminate, 113 x 140 cm.
Exhibitions: Thielska Galleriet, Stockholm, “Maria Friberg, Almost There.”, 16 September 2023–3 March 2024.
Literature: Joanna Persman, review “Almost there”, Svenska Dagbladet, 16 September 2023, illustrated.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
396. Hasse Persson (Sweden, 1942–) “Say Cheese, Larry!”, 1981.
Signed Hasse Persson. C-print 63 x 158 including frame.
Provenance: Bukowski Auktioner, Contemporary Art & Design 650, 25 October 2023, lot 200.
Literature: The American art magazine Cabinet, 2008, illustrated on the cover.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
397. Sirous Namazi (Sweden, 1970–) Untitled, 2002.
Signed Sirous Namazi and numbered 2/10 on the label verso. C-print 70 x 70 cm.
Provenance: Galleri Magnus Åklundh, Malmö.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730 (d)
398. Christo Vladimirov Javacheff (Bulgaria, 1935–2020) “The Gates (Project for Central Park, New York City)”, 2005.
Signed Christo and Jeanne-Claude and numbered 12/13.
C-print, image 57.5 x 92 cm. Including frame 73 x 106.5 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
Jimmy Nelson
Jimmy Nelson began his career as a photographer in 1987 and has since travelled the world documenting indigenous peoples and isolated places. With his images, Nelson wants to provoke a discussion about what the future will look like for these remote and isolated cultures. Many of them are facing the effects of climate change, global industrial expansion and conflict.
Jimmy Nelson is an internationally acclaimed photographer, set designer and director. He works extremely meticulously on each image and can take days to realise his vision. In autumn 2019, around 100 of his images were shown in a major exhibition at Fotografiska in Stockholm. He is represented in Sweden by Willas Contemporary and has exhibited at galleries and institutions in Germany, the Netherlands, the UK, Italy, France and elsewhere.
Nelson has described his childhood as filled with warmth, love and adventure as he accompanied his father on geological expeditions in different regions. However, his school years at boarding school were a difficult time that left him feeling exposed, vulnerable and disconnected from the outside world. A trip to Tibet at the age of 18, inspired by Tintin's adventures, was a dramatic turnaround for the better. His father had given him a Zenith B camera and some rolls of 35 mm film. This is how he found his way to photography. Since then, his travels have taken him to far-flung places, where he has captured the beauty of people proud of their cultural heritage. Initially, Jimmy Nelson was drawn to indigenous peoples because they reminded him of the safety and warmth he experienced as a child.
Today, Jimmy Nelson continues to travel the world, pushing himself to the limit, both physically and emotionally. His goal is to portray the beauty and resilience of the human spirit and to tell a story of global unity and kinship - a story that the world needs to embrace more than ever before.
399. Jimmy Nelson (Great Britain, 1967–) “Yakel, Mount Yasur, Tanna Island, Vanuatu, 2011” Edition 2/3. Archival print, 208 x 148 cm including frame.
Provenance: Willas Contemporary, Stockholm. Private Collection, Sweden.
Estimate: SEK 125 000 – 150 000 / EUR 11 350 – 13 620 (d)
400. Terry O’Neill (Great Britain, 1938–2019) “Frank Sinatra taking a cigarette break during filming”, 1960.
Signed Terry O’Neill and numbered 28/50. Gelatin silver print, image 37 x 56 cm. Including frame 65 x 81 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
401. Wolfgang Tillmans (Germany, 1968–) “Moonrise, Puerto Rico”, 1995.
Signed Wolfgang Tillmans, Plate 1195, and numbered 2/10 + 1 AP verso. Cibachrome, image 25 x 38 cm.
Sheet 31.7 x 40.5 cm.
Provenance: Stalke Galleri, Kirke Saaby, Denmark.
Exhibitions: Kunstmuseum Wolfsburg, “Wolfgang Tillmans, Wer Liebe wagt lebt morgen”, September - November 1996, another example exhibited.
Literature: Kunstmuseum Wolfsburg, “Wolfgang Tillmans, Wer Liebe wagt lebt morgen”, 1996, exhibition catalogue, illustrated pl. 84.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
402. Nan Goldin (USA, 1953–) “Nan, One Month After Being Battered”, 1984.
Signed Nan Goldin and numbered 4/25 on label verso. Cibachrome 39.5 x 50.5 cm.
Provenance: Galerie Thierry Marlat, Paris.
Exhibitions: Modern Museet, Stockholm, “Nan Goldin - This Will Not End Well”, 29 October 2022 – 26 February 2023.
Literature: Fredrik Liew, Nan Goldin Studio (Ed.) “Nan Goldin - This Will Not End Well”, 2022, illustrated full page p. 27.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
403. Jacob Felländer (Sweden, 1974–) “Sometimerightaroundthehour14”, 2014.
Signed Jacob Felländer and dated 2014 on the certificate verso. Edition 3/5 + 2 AP. Pigment print mounted on aluminum and framed 105.5 x 225 cm including frame.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
404. Robert Mapplethorpe (USA, 1946–1989) “A Season in Hell”, 1986.
Signed Paul Schmidt and Robert Mapplethorpe, numbered 833. Edition of 1000. Arthur Rimbaud, “A Season in Hell”, new translation in 1986 by P. Schmidt and photographs by R. Mapplethorpe. Photogravures executed by Jon Goodman. Design by Benjamin Shiff. Published by The Limited Editions Club, 1986. In a linen-covered black slipcase 30 x 20.5 x 3 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
405. David Drebin (Canada, 1970–) “Room With a View”, 2010.
Signed David Drebin on label verso. Edition 1/10. Certificate issued by Camera Work, Berlin, accompanies the work. C-print mounted on acrylic glass 76 x 95 cm.
Provenance: Camera Work, Berlin.
Literature: Condé Nast Traveller, “Word of Mouth - Lights, Camera, Girl”, 2011, illustrated on full-page p. 23.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730
406. Pennie Smith (Great Britain, 1949–) “London Calling”, 1979. Signed Pennie Smith. Gelatin silver print made by hand in the darkroom from the original negative, image 40 x 27 cm. Including frame 69.5 x 55 cm.
Provenance: Snap Galleries, London.
Literature: The Clash, album “London Calling”, 1979, illustrated on the cover.
Estimate: SEK 30 000 – 35 000 / EUR 2 730 – 3 180 (d)
407. Hasse Persson (Sweden, 1942–) “STUDIO 54”, 1979.
Signed Hasse Persson and dated -79. Vintage. Gelatin silver print, image 43 x 29 cm. Sheet 50.5 x 40.5 cm.
Provenance: Bukowski Auktioner, Vårens Contemporary 592, 18 May 2016, lot 80.
Exhibitions: Galleri Camera Obscura, Stockholm, 1979.
Estimate: SEK 18 000 – 20 000 / EUR 1 640 – 1 820 (d)
408. Horst P. Horst (Germany, 1906–1999) “Coco Chanel, Paris 1937”. Signed Horst verso. Also marked “SW34895” verso. Gelatin silver print, image 23.7 x 22.5 cm. Sheet 35.3 x 27.7 cm.
Provenance: F. Daniello Fine Art, Connecticut.
Literature: H. P. Horst, “Horst: Photographs of a Decade”,1944, illustrated p. 32. V. Lawford, “Horst: His Work and His World”, 1984, illustrated p. 154. R. J. Tardiff and Lothar Schirmer (ed.), “Horst: Sixty Years of Photography”, 1986, illustrated p. 14–15.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450
409. Christer Strömholm (Sweden, 1918–2002) “Bleka damen i Barcelona”, 1959.
Signed CHR Strömholm and dated Nov 1983 verso. With Christer Strömholm’s copyright stamp verso. Gelatin silver print, image 28 x 20.8 cm. Sheet, 39.8 x 30.3 cm.
Literature: Anders Jonason and Christer Strömholm, “Konsten att vara där”, 1991, illustrated p. 139. Lourdes Peracaula (ed.), “Christer Strömholm”, 2001, illustrated p. 27. Joakim & Jakob Strömholm (e.a), “Christer Strömholm 1918-2002, On verra bien”, 2002, illustrated on full page p. 103. Brigitte Govignon (e.a), “La Petite Encyclopédie de la Photographie”, 2011, illustrated on the cover. Joakim Strömholm (ed.), “Post Scriptum Christer Strömholm”, 2012, illustrated on full page p. 217.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540 (d)
410. Pentti Sammallahti (Finland, 1950–) Untitled. Signed Pentti Sammallahti and dated 2002. Gelatin silver print, image 15.5 x 21 cm.
Provenance: Gun Gallery, Stockholm.
Estimate: SEK 6 000 – 8 000 / EUR 550 – 730 (d)
411. Gunnar Smoliansky (Sweden, 1933–2019) “Hemma”, 1979.
Signed Gunnar Smoliansky verso. Gelatin silver print, image 18 x 24 cm. Including frame 37 x 37 cm.
Literature: Henrik Nygren and Lars Forsberg (ed.), “Gunnar Smoliansky 1933–2019”, 2021, illustrated pl. 936. Gunnar Smoliansky (e.a), “Gunnar Smoliansky - One Picture at a Time”, 2008, illustrated full-page pl. 206, titled “Saltsjö-Boo, 1979”.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
412. Hans Hammarskiöld (Sweden, 1925–2012)
“Battersea Bridge, London, 1955”.
Signed Hans Hammarskiöld and numbered 71/100 verso.
Gelatin silver print, image 36.2 x 28.5 cm. Sheet 39.5 x 29.3 cm.
Provenance: Gift directly from the photographer to Björn Uhrenius, 1981, in connection with their work on a TV production.
Literature: Kurt Mälarstedt, “Foto Hammarskiöld - Tiden och ljuset”, 2008, illustrated on full-page p. 56.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090 (d)
413. Christer Strömholm (Sweden, 1918–2002)
“Giulia & Carol, Pigalle, Paris”, 1964.
Stamped, and marked with inventory number 1313–6, by the Christer Strömholm Estate verso. According to the estate, this is edition 6/7. Certificate issued by the Strömholm Estate on February 6th 2025 accompanies the work. Gelatin silver print, image 21 x 28 cm. Sheet 30 x 36.5 cm.
Provenance: Stockholms Auktionsverk, Photography, 13 November 2013. Private Collection, Sweden.
Exhibitions: Fotografiska, Stockholm, “CHR”, 24 August - 25 October 2012, another example exhibited. International Center of Photography, New York, “Christer Strömholm - Les Amies de Place Blanche”, 18 May – 2 September 2012, another example exhibited.
Literature: Joakim Strömholm and Vincent Marcilhacy (ed.), “Christer Strömholm. Les Amies De Place Blanche”, 2011, illustrated on full-page p. 150. Joakim Strömholm (ed.), “Post Scriptum. Christer Strömholm”, 2012, illustrated on spread p. 124–125.
Estimate: SEK 35 000 – 40 000 / EUR 3 180 – 3 630 (d)
414. Gunnar Smoliansky (Sweden, 1933–2019) “Urvädersgränd”, 1975. Signed Gunnar Smoliansky and numbered AP 1 verso. Gelatin silver print, image 27.8 x 27.7 cm. Including frame 46 x 46 cm.
Literature: Henrik Nygren and Lars Forsberg (ed.), “Gunnar Smoliansky 1933–2019”, 2021, illustrated pl. 610. Gunnar Smoliansky (e.a), “Gunnar Smoliansky - One Picture at a Time”, 2008, illustrated full-page pl. 43, titled “Södermalm, 1975”.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
415. Nick Brandt (United Kingdom, 1966–)
“Giraffes Battling in Forest, Masai Mara, 2008”.
Signed Nick Brandt and dated 2008, numbered 7/8. Pigment print, image 134 x 106 cm. Including frame 168.5 x 138.5 cm.
Provenance: The Perfect World Foundation. Private Collection, Sweden.
Literature: Nick Brandt, “On this Earth, a Shadow Falls”, 2010, illustrated on full-page p. 91.
Estimate: SEK 100 000–125 000 / EUR 9 360–11 700
416. Terry O’Neill (United Kingdom, 1938–2019) “Brigitte Bardot, Spain, 1971”.
Signed Terry O’Neill and numbered 40/50. Gelatin silver print, image 56.5 x 38 cm. Including frame 92.5 x 72.5 cm.
Provenance: Getty Images Gallery, London.
Literature: Terry O’Neill, “Terry O’Neill: The A-Z of Fame”, 2013, illustrated on the cover and on full-page p. 21.
Estimate: SEK 100 000–150 000 / EUR 9 360–14 000 (d)
417. Peter Beard (USA, 1938–2020) “Peter Beard, Art Edition”, 2006. Signed Peter Beard and numbered 1372/2500 on the preface as well as on the labels of the packaging. Edited by Nejma Beard and David Fahey. Designed by Ruth Adams. Published by Taschen America LLC, 2006. In a linen-covered box and with a wooden stand. Box 55 x 39.5 x 10.5 cm. The book “Peter Beard - PB2”, 2006, is included. Original cardboard box from Taschen 64 x 48.5 x 25 cm. Mint condition.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
418. Olafur Eliasson (Iceland, 1967–) “Stone Series”, 1998. Eight pieces from the “Stones Series”. Signed Olafur Eliasson and dated 1998, numbered 3/3, verso. C-print, 24 x 36 cm per part.
Provenance: Stalke Galleri, Kirke Saaby, Denmark.
Estimate: SEK 150 000 – 200 000 / EUR 13 620 – 18 150 (d)
Olafur Eliasson
Olafur Eliasson was born in 1967 in Copenhagen to Icelandic parents but now works from his large laboratory-like studio in Berlin. He has established himself as one of the most sought-after artists at major institutions around the world: the Tate Modern in London, the Guggenheim Museum in New York, the Moderna Museet in Stockholm and the Venice Biennale. His art moves in a special world where aesthetics and science form a marvellous alliance. The ideas are advanced but the results are simple and playful. Eliasson works in sculpture, painting, photography, film and installations, but also with architectural projects and site-specific works in public space. Light, wind and water in all its forms are recurring elements.
In the early 1990s, Eliasson began photographing nature during his annual holidays on his childhood island of Iceland. The pictures were taken while he was walking, sailing, climbing or flying. They range from more traditional landscapes to close-ups of rocks, moss and glacier ice, usually assembled in large series. In this way, he elevates the subject from a mere documentation of a landscape to a contemporary idea-based artwork that discusses environmental change and man’s relationship to nature. Eliasson’s fascination with rocks, caves and stones is visible in several of his photographic works. Many of his works depict the outside of the rock, but also its openings with waterfalls, geysers and volcanoes. In this auction there are several examples of that as we sell several works from his production, ”Stone Series”, ”Iceland series”, ”Waterfall series” and ”Stone series / Big Stone”.
419. Olafur Eliasson (Iceland, 1967–) “Waterfall series”, 1996/97. Three parts from the “Waterfall series”. Signed Olafur Eliasson and dated 1996, numbered AP, verso. C-print, 36 x 24 cm per part.
Provenance: Stalke Galleri, Kirke Saaby, Denmark.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
420. Blaise Reutersward (Sweden, 1961–) “AK 1507”, 2012. Signed BLAISE REUTERSWARD and numbered 4/5 verso. Total edition of 5 + 2 AP. Chromogenic print diasec mounted on acrylic glass and framed, 235 x 185 cm.
Provenance: Directly from the artist to the present owner.
Estimate: SEK 70 000 – 90 000 / EUR 6 360 – 8 170 (d)
421. Mike & Doug Starn (Starn Twins) (USA, 1961–) “Attracted to light #1”, 1999–2002. Signed by Mike and Doug Starn on label verso. Edition AP 1. Toned gelatin silver print on Thai mulberry paper, 50 x 150 cm. Including frame 67 x 169 cm.
Provenance: Wetterling Gallery, Stockholm.
Estimate: SEK 100 000 – 150 000 / EUR 9 080 – 13 620
422. Vee Speers (Australia, 1962–) “Untitled #35”, 2009. From the series ‘The Birthday Party’. Signed and numbered 2/6 verso. Cibachrome mounted on acrylic glass and framed, 124.5 x 100.5 cm including frame.
Provenance: Jackson Fine Art, Atlanta. Acquired in 2010 by the present owner.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
423. David LaChapelle (USA, 1963–) “Negative Currency: 5 Yuan Used as Negative, New York”, 2010. Signed David LaChapelle on label verso. Edition 3/5. Chromogenic print mounted to acrylic glass, 76 x 155 cm.
Provenance: Fred Torres Collaborations, New York.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350
424. Brooks Kraft (USA, 1964–) “President Donald Trump”, 2017. From the series “Images of Power”. Signed and numbered 1/15 on the label verso. C-print, image 40 x 26.5 cm.
Provenance: Tres Hombres Art, Halmstad.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730
425. Ron Galella (USA, 1931–) “John Lennon & David Bowie, 17th Annual Grammy Awards Party, March 1, New York, 1975.”.
Signed Ron Galella and stamped Photography Ron Galella 2007 verso. Gelatin silver print 78.5 x 104.5 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
426. Blaise Reutersward (Sweden, 1961–) ‘LACS 709’, 2009.
Signed BLAISE REUTERSWARD and dated 2016, numbered AP 2/2, verso.
Total edition of 5 + 2 AP. C-print diasec mounted and framed 185.5 x 300 cm including frame.
Provenance: Private Collection, Los Angeles.
Estimate: SEK 100 000 – 150 000 / EUR 9 080 – 13 620 (d)
427. Hasse Persson (Sweden, 1942–) “New York, Studio 54”, 1979.
Signed Hasse Persson and numbered 8/12. Gelatin silver print, image 45 x 30 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
428. Torbjörn Calvero (Sweden, 1949–2016) “Patti Smith, Stockholm, 3 oktober 1976”.
Signed Calvero and dated 2009, numbered III/V. Also signed by Patti Smith. C-print, image 52.5 x 65.5 cm. Including frame 74 x 86 cm.
Literature: Torbjörn Calvero and Christer Olsson, “Från Abba till Zeppelin. Calveros 70-tal”, illustrated full-page p. 56–57.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
429. Helene Schmitz (Sweden, 1960–) “Alabama Fields”, 2013. From the series “Kudzu Project”. Signed Helene Schmitz and numbered 2/3 on label verso. Printed in 2016. Archival Inkjet print, image 67 x 85 cm. Including frame 81 x 97 cm.
Exhibitions: Maria Lund Gallery, Paris, “Helene Schmitz - Kudzu Project”, 7 November - 7 December 2013, another example exhibited.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
430. Denise Grünstein (Finland, 1950–2023) “WunderFaust”, 2013.
Signed Denise Grünstein and numbered 2/5 verso. Total edition of 5 + 2 AP. C-print mounted on aluminum and framed 122.5 x 127.5 cm including frame.
Provenance: Galleri Charlotte Lund, Stockholm. Private Collection, Stockholm.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
431. Helena Blomqvist (Sweden, 1975–) “I Shall be Released II/Runaway”, 2004.
Signed Helena Blomqvist and numbered 1/5 verso. Total edition of 5 + 2 AP. C-print mounted on acrylic glass 75 x 100 cm.
Provenance: Angelika Knäpper Gallery, Stockholm.
Literature: Helena Blomqvist, “Helena Blomqvist”, 2012, illustrated full-page.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
432. Olafur Eliasson (Iceland, 1967–) “Big Stone”, 1995. From “Stenserie”, 1993-2005. Signed Olafur Eliasson and dated 1995 and numbered 3/3 verso. C-print mounted on aluminum and framed, image 100 x 100 cm.
Provenance: Stalke Galleri, Kirke Saaby, Denmark.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
433. Olafur Eliasson (Iceland, 1967–) “Untitled (Iceland Series #12)”, 2005.
Signed Olafur Eliasson on the label verso. Unique. C-print 60 x 90 cm.
Provenance: Neugerriemschneider, Berlin.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
434. Olafur Eliasson (Iceland, 1967–) “Untitled (Iceland Series)”, 1996. Signed Olafur Eliasson and dated 1996 verso. Edition 1/1. C-print, 59 x 89 cm.
Provenance: Neugerriemschneider, Berlin.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
435. Christer Strömholm (Sweden, 1918–2002) “Perpignan 1949”.
Signed CHR Strömholm and with fingerprint, dated 1982, verso. The photographer’s copyright stamp verso. Gelatin silver print, image 20 x 26.9 cm. Sheet 28.5 x 38 cm.
Provenance: Directly from the photographer to the present owner.
Literature: Joakim Strömholm (ed.), “Post Scriptum Christer Strömholm”, 2012, illustrated on full-page p. 101.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
436. Dawid (Björn Dawidsson) (Sweden, 1949–) “2668, 1987”.
From the series “Rost”. Signed and numbered 1/3 verso.
Gelatin silver print 53.5 x 43.5 cm including the artist’s frame.
Provenance: Directly from the photographer to the present owner.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
437. Christer Strömholm (Sweden, 1918–2002) Self-portrait, 1975–76. Signed CHR and with finger print verso. Gelatin silver print, image 45 x 34.5 cm. Sheet 50 x 40.5 cm.
Provenance: Galerie Rudolf Kicken, Cologne, Germany. Acquired in 1993. Bukowski Auktioner, Contemporary Art & Design 639, April 2022, lot 126. Private Collection, Stockholm.
Literature: Camera Obscura, “Christer Strömholm. Privata bilder”, 1978, illustrated on the cover. Joakim and Jakob Strömholm and Jan Åman, “Christer Strömholm 1918–2002. On verra bien”, 2002, illustrated on p. 140. Gösta Flemming, Lars Hall e.a, “Christer St(…).
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
Gunnar Smoliansky
Gunnar Smoliansky’s photographic career began in the 1950s and did not end until his death in 2019. His wanderings in the city resulted in numerous minimalist snapshots of Stockholm and its inhabitants.
Over time, many of his images have become iconic documents of their time, depicting an architecture and urban life very different from today’s, even though only a few decades separate them. A good example of this is the 1952 Slussen series, which is being auctioned in its entirety for the first time. They show a functionalist building, both loved and hated, now gone forever with the much-discussed new Golden Bridge, but they also give a picture of the people who crossed Söderström. The dramatic compositions, with great contrasts between daylight and darkness in the tiled tunnels, reveal Smoliansky’s keen photographic eye. There is also a hint of admiration for Henri Cartier Bresson and André Kertesz, two world-famous photographers whose main subject was street life. Wherever Smoliansky went, he used this eye. The twenty-four photographs of Slussen were taken when the photographer was nineteen and on his way home from his job as a night watchman on Stadsgårdskajen, hence the beautiful morning light. His images create a unique iconography of the city of Stockholm.
In 1987, Carl-Johan Malmberg reflected on Smoliansky’s Slussen pictures when they were exhibited at the Lido cinema in Stockholm. ”Exemplary: if there is a centre in Gunnar Smoliansky’s pictorial world, it is perhaps Slussen in Stockholm, with its stairs, bridges, railings, railway tracks and streets. A little girl peeing in a backyard in Söder, a tram in São Paolo, a pine forest in Hälsingland are random points on the concentric circles that radiate from there. Time is also concentric: images from the early fifties - the boys’ hairstyles and hats, a basket of shavings - become strangely contemporary. There is no trace of the past between us and them. Perhaps for Gunnar Smoliansky, reality is a series of intimately connected spaces, small points of light in time”.
438. Gunnar Smoliansky (Sweden, 1933–2019) “Slussen”, 1952. 24 gelatin silver prints from the series “Slussen”. Signed Gunnar Smoliansky verso.
Printed by the photographer. Image, 11.5 x 12 cm each. Including frame 138.3 x 127 cm.
Provenance: Acquired directly from the photographer by the present owner.
Literature: Henrik Nygren and Lars Forsberg (ed.), “Gunnar Smoliansky 1933–2019”, 2021, illustrated. Gunnar Smoliansky (e.a), “Gunnar Smoliansky - One Picture at a Time”, 2008, several of them illustrated on full-page.
Estimate: SEK 150 000 – 200 000 / EUR 13 620 – 18 150 (d)
439. Lennart Nilsson (Sweden, 1922–2017) “Birgit Nilsson in the role of Elektra, Royal Opera in Stockholm 1966”.
Signed Lennart Nilsson and numbered 3/3 on the label verso. Printed in 2013. Gelatin silver print 44.5 x 44.5 cm. Including frame 69.5 x 67 cm.
Exhibitions: Millesgården, Stockholm, “EXTAS! Den svenska divan, dyrkad av Robert Fux”, 8 February – 25 May 2025, another example exhibited.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
440. Hans Runesson (Sweden, 1947–) “Kvinnan med handväskan”, 1985. Signed Hans Runesson and numbered 2/2 verso. Total edition of 2 + 1 AP. Gelatin silver print, image 81 x 119 cm.
Provenance: Pelle Unger Gallery, Stockholm.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
441. Gunnar Smoliansky (Sweden, 1933–2019) “Södermannagatan”, 1959. Signed Gunnar Smoliansky verso. Gelatin silver print, image 26.2 x 17.5 cm. Sheet 29.7 x 24 cm.
Literature: Gunnar Smoliansky (e.a), “Gunnar Smoliansky -One Picture at a Time”, 2008, compare image p. 70.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
442. Hans Gedda (Sweden, 1942–) “Kung Carl XVI Gustafs hand”, 1996.
Signed Hans Gedda. Numbered 11/25 verso. Gelatin silver print, image 40 x 40 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
443. Gunnar Smoliansky (Sweden, 1933–2019) “Slussen”, 1952.
Signed Gunnar Smoliansky and dated 1952 verso. Gelatin silver print, image 26.5 x 26.5 cm.
Literature: Henrik Nygren and Lars Forsberg (ed.), “Gunnar Smoliansky 1933–2019”, 2021, illustrated pl. 86. Gunnar Smoliansky, Hans Henrik Brummer and Carl Johan Malmberg, “Gunnar Smolianskys fotografier från Slussen i Stockholm 1952”, 2002, illustrated.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
444. Gunnar Smoliansky (Sweden, 1933–2019) “Slussen”, 1952.
Signed Gunnar Smoliansky verso. Gelatin silver print, image 26.5 x 26.5 cm.
Literature: Henrik Nygren and Lars Forsberg (ed.), “Gunnar Smoliansky 1933-2019”, 2021, illustrated pl. 640. Estelle af Malmborg (ed.), “Contemporary Swedish Photography”, 2012, illustrated on full-page p. 160. Gunnar Smoliansky (e.a), “Gunnar Smoliansky - One Picture at a Time”, 2008, illustrated full-page pl. 58.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
445. Gunnar Smoliansky (Sweden, 1933–2019) “Slussen”, 1952. Signed Gunnar Smoliansky verso. Gelatin silver print, image 19 x 19 cm. Sheet 30.3 x 24 cm.
Literature: Henrik Nygren and Lars Forsberg (ed.), “Gunnar Smoliansky 1933–2019”, 2021, illustrated pl. 78.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
446. Johan Bergström (Sweden, 1978–) “Pagan Postcards (Darkthrone Excerpt #02)”, 2011. Signed Johan Bergström and numbered 1/2 + 1 AP on the label verso. Pigment print 89 x 65 cm.
Estimate: SEK 15 000 – 18 000 / EUR 1 370 – 1 640 (d)
447. Lovisa Ringborg (Sweden, 1979–) “Untitled”, 2004. From the series “Wonderland”. Signed Lovisa Ringborg and numbered 1/5 verso. C-print mounted on aluminum and framed, image 74 x 99 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
448. Andreas Johansson (Sweden, 1977–) Untitled, 2008.
Signed Andreas Johansson on label verso. Executed in 2008. Unique. Photographic collage, 127 x 194 cm. Including frame 133 x 202 cm.
Provenance: Galleri Bendixen, Copenhagen. Bukowski Auktioner, Contemporary Art & Design 631, April 2021, lot. 206.
Exhibitions: Lunds Konsthall, “Vilande mängd”, 28 November 2020 – 21 February 2021.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
449. Maria Miesenberger (Sweden, 1965–) “Utan titel (Bollen)”, 1993.
From the series ‘Sverige/Schweden’. Signed Maria Miesenberger and numbered 6/10 verso. C-print, 53 x 68 cm including the artist’s frame.
Provenance: Lars Bohman Gallery, Stockholm.
Literature: Maria Miesenberger, ‘Sverige/Schweden’, 2011, illustrated on full-page as #021.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730 (d)
450. Hans Hammarskiöld (Sweden, 1925–2012) “Carl Sandburg”, 1959.
Signed Hans Hammarskiöld/TIO and numbered 52/100. Copyright stamp verso. Printed in 1976. Gelatin silver print, image 36.5 x 27.5 cm. Sheet 39.2 x 29.5 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
451. Nathalia Edenmont (Sweden, 1970–) “Lena”, 2007. Signed N Edenmont and numbered 2/6 verso. C-print mounted to glass 120 x 92 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
452. Ilkka Halso (Finland, 1965–) “Kitka River” (From series Museum of Nature).
From series “Museum of Nature”. Triptych. Signed Ilkka Halso and dated 2004, numbered 10/10, verso. C-print mounted on aluminum, 50 x 91 cm per part.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
453. Leif-Erik Nygårds (Sweden, 1939–2022) “Marilyn Monroe photographed in Los Angeles at Bel Air Hotel, June 27th 1962.”. Signed Leif-Erik Nygårds and numbered 4/20 verso. Pigment print, image 70 x 105 cm. Including frame 113 x 138 cm.
Provenance: Directly from the photographer to the present owner.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
Elisabeth Ohlson
Elisabeth Ohlson worked as a photographer for more than 40 years before her death in 2024. She is best known for her many portraits commissioned by newspapers and magazines, and for her images inspired by Christian art history.
References to biblical scenes and stories is a common thread in her work. Psalm texts are something Ohlson grew up with, having been introduced to them as a child in Sunday school in Skara, where she was born in 1961. Her big breakthrough came with the exhibition ‘Ecce Homo’ in 1998, a series of photographs in which well-known images from the New Testament were staged with models from sexual minorities. The exhibition attracted a lot of attention, became a watershed and was met with statements of both condemnation and gratitude. As recently as 2019, her work ‘Paradise’, Sweden’s first LGBTQ altarpiece, was forced down from St Paul’s Church in Malmö. In memory of Elisabeth Ohlson, Ersta Kulturscen (Ersta Diakoni) earlier this year once again showed the exhibition ‘Life, Death and Love’ that Ohlson created for them in 2021. The exhibition was inaugurated by Archbishop Emeritus KG Hammar.
454. Elisabeth Ohlson (Sweden, 1961–2024) “Nattvarden”, 1998. Signed Elisabeth Ohlson and numbered 2/10, Medium Edition, verso. Printed in 2021. C-print 107 x 160 cm.
Provenance: Directly from the artist to the present owner.
Estimate: SEK 100 000 – 150 000 / EUR 9 080 – 13 620 (d)
456. Torbjörn Calvero (Sweden, 1949–2016) “Marianne
Faithfull, Castle Hotel, Stockholm, 19 november 1979”.
Signed Calvero and dated 2009, numbered 4/5. C-print, image 60 x 41.5 cm.
Literature: Torbjörn Calvero and Christer Olsson, “Från Abba till Zeppelin. Calveros 70-tal”, illustrated p. 61.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
455. Torbjörn Calvero (Sweden, 1949–2016) “Robert Plant, Jimmy Page/Led Zeppelin, Earl’s Court, May 1975.”.
Signed Torbjörn Calvero and dated 1 December 2015, numbered 3/9. Total edition of 9 + 2 AP. Only edition 1–3 and 2 AP’s printed. C-print, image 125 x 188 cm. Including frame 137 x 201 cm.
Provenance: Directly from the photographer to the present owner.
Literature: Torbjörn Calvero and Christer Olsson, “Från Abba till Zeppelin. Calveros 70-tal”, illustrated on the cover.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
457. Nathalia Edenmont (Sweden, 1970–) “Janus”, 2003.
Signed Edenmont and numbered 3/6 verso. C-print mounted to acrylic glass 60 x 60 cm.
Provenance: Wetterling Gallery, Stockholm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 730 (d)
458. Anders Krisár (Sweden, 1973–) “Janus 1”, 2006. Signed KRISÁR and numbered 3/3 verso. C-print 145 x 185 cm including frame.
Provenance: Galleri Thomas Wallner, Simris.
Literature: Anders Krisár, “Anders Krisár”, 2011, illustrated on p. 147.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360 (d)
459. Nathalia Edenmont (Sweden, 1970–) “Mother”, 2009–2011. Signed N Edenmont and numbered 3/6 verso. C-print mounted to glass and framed 129 x 101 cm. Including frame 140 x 113 cm.
Exhibitions: Wetterling Gallery, Stockholm, “Nathalia Edenmont: Still Born”, 27 May – 4 July 2008. Wetterling Gallery, Göteborg, ”Icons”, 4 April – 20 May 2009. Borås konstmuseum, ”Eternal”, 29 January – 3 April 2011. Sven-Harrys Konstmuseum, Stockholm, “Nathalia Edenmont: Only me”, 17 January - 16 March 2014. Stamford Museum and Nature Center, Stamford, USA, “Fruitfulness”, 20 September – 3 November 2019. Flint Institute of Arts, Flint, USA, “Beauty and Pain: Photographs by Nathalia Edenmont”, 11 July – 27 September 2020.
Literature: Nathalia Edenmont, “Still Born”, 2008, exhibition catalogue Wetterling Gallery, illustrated p. 52. Nathalia Edenmont, “Eternal”, 2011, illustrated on full-page p. 82. Nathalia Edenmont, “Only me”, 2013, illustrated on full-page p. 12. Nathalia Edenmont, “Nathalia Edenmont”, 2015, illustrated p. 114. Flint institute of art, USA, “Beauty and pain: Photographs by Nathalia Edenmont”, 2019, exhibition catalogue, illustrated p. 46.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
460. Annika Elisabeth von Hausswolff (Sweden, 1967–) “Selfportrait 1999”. Signed Annika von Hausswolff and dated 2000 verso. Edition 12/15 + 5 AP. C-print, image 22.5 x 17 cm.
Provenance: Andréhn-Schiptjenko, Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
461. Lennart Nilsson (Sweden, 1922–2017) “Foster, 18 veckor”, 1965. From “Ett barn blir till”. Signed Lennart Nilsson and numbered 3/25 verso. Printed 2015. Platinum palladium print, image 44.5 x 44.5 cm.
Literature: Life Magazine, 30 april 1965, illustrated on cover. Lennart Nilsson, Axel Ingelman-Sundberg and Claes Wirsén, “Ett barn blir till”, 1965, illustrated on spread p. 116–117.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450 (d)
463. Gunnar Smoliansky (Sweden, 1933–2019) “Hemma”, 1975. Signed Gunnar Smoliansky verso. Gelatin silver print, image 8 x 10.5 cm. Including frame 36 x 36 cm.
Literature: Henrik Nygren and Lars Forsberg (ed.), “Gunnar Smoliansky 1933–2019”, 2021, illustrated pl. 518. Gunnar Smoliansky (e.a), “Gunnar Smoliansky - One Picture at a Time”, 2008, illustrated full-page pl. 2, titled “Stina, 1975”.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
462. Hans Hammarskiöld (Sweden, 1925–2012) “Frost”, 1952.
Signed Hans Hammarskiöld and numbered 7/100 on the label verso. Printed in the 1970s. Gelatin silver print, image 35 x 25 cm. Provenance: Directly from the photographer to the present owner.
Literature: Kurt Mälarstedt, “Photo Hammarskiöld - Time and Light”, 2008, illustrated on full-page p. 52.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090 (d)
464. Christer Strömholm (Sweden, 1918–2002) “Räven på Rue de Rennes”, late 1970s.
Signed CHR and with a fingerprint verso. Gelatin silver print, image 21 x 28 cm. Sheet 30 x 35.3 cm.
Literature: Joakim Strömholm (ed.), “Post Scriptum Christer Strömholm”, 2012, illustrated on full-page p. 102.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
465. Gered Mankowitz (Great Britain, 1946–) “Jimi Hendrix, Masons Yard Studio, London, 1967”.
Signed Gered Mankowitz and numbered 10/25. C-print, image 72 x 72 cm. Including frame 100 x 95 cm.
Literature: Gail Buckland, “Who Shot Rock & Roll, A Photographic History, 1955 - Present”, 2009, compare image p. 7.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
466. Ann Eringstam (Sweden, 1977–) “Falling Down 5”, 2008.
Signed Ann Eringstam and numbered 2/5 verso. Total edition of 5 + 2 AP. C-print mounted on aluminum and acrylic glass 80 x 65 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
467. Maria Miesenberger (Sweden, 1965–) “UTSIKT-INSIKT-AVSIKT”, 1994-1996.
Triptych. Signed verso. Executed 1994-1996. C-print, acrylic glass, wooden frame. Each part 105 cm in diameter, 86 cm in diameter, and 55 cm in diameter including the artist’s frame.
Provenance: Åmells konsthandel, Stockholm.
Literature: Hasselblad Center, “Works by Maria Miesenberger”, 1998, compare image p. 24-31.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
468. Nick Brandt (Great Britain, 1966–) “Wildebeest Arc, Maasai Mara”, 2006. Signed Nick Brandt and numbered 14/15. Pigment print, image 88 x 137.5 cm.
Provenance: Iris Gallery of Fine Art, Boston. Bukowski Auktioner, Contemporary Art & Design 615, April 2019, lot 225.
Exhibitions: Nick Brandt, “On this Earth, a Shadow Falls”, 2010, illustrated on p. 114.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350 (d)
469–470 No lot.
471. Terry O’Neill (United Kingdom, 1938-2019) “Elton John With His Eyes Closed”, 1990s
Signerad Terry O’Neill och numrerad 2/50. Silvergelatinfotografi, bildyta 53 x 40 cm. Inklusive ram 80,5 x 65,5 cm.
Estimate: SEK 35 000–40 000 / EUR 3 270–3 740 (d)
471A. Nick Brandt (Great Britain, 1966–) “Factory with Elephant”, 2014.
From the series “Inherit the Dust”. Pigment print, image 96 x 163 cm.
Including frame 120 x 188 cm.
Literature: Nick Brandt, “Inherit the Dust, 2016, illustrated.
Estimate: SEK 125 000–150 000 / EUR 11 700–14 000 (d)
Signed Cindy Sherman and dated 2000, numbered 58/75, verso. C-print, image 28 x 38.3 cm.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350 (d)
471B. Cindy Sherman (USA, 1954–) “Untitled (In honor of Mark Morrisroe)”, 1980–2000.
472. William Anastasi (USA, 1933–2023) “Pocket Drawing”. Signed in pencil and numbered 16/26. Etching. Printed and published by BORCH Editions, Copenhagen. P. 21.5 x 28.5 cm.
Provenance: Stalke Galleri, Kirke Saaby, Denmark. Private Collection.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 370
473. Banksy (Great Britain) “Napalm”.
Numbered in pencil 163/500. Screenprint, 2004. Published by Pictures On Walls, London, with their blind stamp. 37,4 x 58,5 cm.
A certificate issued by Pest Control accompanies the lot.
Estimate: SEK 175 000 – 200 000 / EUR 15 880 – 18 150 (d)
474. Banksy (Great Britain) “Trolleys”.
Numbered in pencil 211/500. Screenprint, 2007. Published by Pictures On Walls, London, with their blind stamp. S. 57 x 76.5 cm.
A certificate issued by Pest Control accompanies the lot.
Provenance: Purchased from Pictures On Walls 2007. Private Collection, England. Private Collection, Sweden.
Estimate: SEK 125 000 – 150 000 / EUR 11 350 – 13 620
475. Francis Bacon (Great Britain 1909–1992.)
“Study for a Portrait of John Edwards”.
Signed in pencil and numbered 88/150. Colour lithograph, 1984. Published by Yves Peyré for L’Ire des Vents, Paris. I. 60 x 44.5 cm.
Provenance: Purchased from Galleri Roy Uddenberg, Gothenburg, late 1990s by the current owner.
Literature: Sabatier 20.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
476. Lynda Benglis (USA, 1941–) Untitled, from: “Garner Tullis Series”. Signed in pencil. Monotype on handmade paper, 1989. Published by Garner Tullis Workshop, Santa Barbara, California. S. 75 x 56.5 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 540 – 5 450
477. Frank Bowling (Great Britain, 1934–) “IMMA Visit 2017”. Signed in ballpoint pen and dated 2018, numbered 67/75. Archival pigment in colours on cotton photo rag paper. Published by the Irish Museum of Modern Art, Dublin, for their exhibition Mappa Mundi, 24 March to 8 July 2018. S. 82 x 60 cm.
Provenance: Purchased at the Irish Museum of Modern Art, Dublin.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820 (d)
478. Christo Vladimirov Javacheff (Bulgaria, 1935–2020) “Arc de Triumphe, wrapped (Project for Paris)”.
Signed in pencil and numbered AP XIX/XXX. Lithograph in colours with collage of fabric, thread, and city map, 1989. Including frame 86 x 68 cm.
Literature: Schellmann 144.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
479. Christo Vladimirov Javacheff (Bulgaria, 1935–2020) “Wrapped Book Modern Art”. The book Modern Art by Sam Hunter and John Jacobus, wrapped in transparent polyethylene with twine and chord, 1978. Signed in felt-tip pen and numbered 43/120 verso. Published by Abrams Original Editions, New York. 34.5 x 25 cm.
Literature: Schellmann 95.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260 (d)
480. Öyvind Fahlström (Sweden, 1928–1976) “Sitting...Dominoes” Signed Öyvind Fahlström and numbered 27/50 on the label verso. Published by Multiples Inc. New York. 28 magnetic plates. Silkscreen on primed vinyl on plexiglass with magnets, metal plate, wood, 72 x 62 x 4 cm.
Provenance: Stalke Galleri, Kirke Saaby, Denmark. Private Collection. Exhibitions: Stalke Galleri, Kirke Saaby, Denmark, “On View 1”, 24 October - 5 December 2009. Another example exhibited; Galerie Ahlner, Stockholm, “Öyvind Fahlström - The Complete Graphics and Multiples”, 6 - 24 November 1976. Arnold Herstand & Co., New York, “Öyvind Fahlström: The Complete Graphics”, 15 March - 16 May 1990. Moderna Museet, Stockholm, “Pop Art & Nouveau Réalisme”, 26 December 1991 - 9 August 1992. Gallery 400, University of Illinois at Chicago, “Öyvind Fahlström - The Complete Graphics and Multiples”, 18 October – 27 November 1999. Bildmuseet, Umeå, “Öyvind Fahlström / Grafik och multiplar”, 12 March – 1 May 2000. Norrköpings konstmuseum, Norrköping, “Öyvind Fahlström - Samlad grafik och multiplar”, 30 October - 9 January 2000. Travelling exhibition: “Öyvind Fahlström”, Museu d’Art Contemporani de Barcelona (MACBA), Barcelona, (18 October 2000 - 8 January 2001). Centro Studi sull’arte Fondazione Ragghianti – Complesso monumentale di San Micheletto, Lucca, (February – May 2001) Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, (June – October 2001) BALTIC. Centre for Contemporary Art, Newcastle UK (February 2002) Aurel Scheibler, Cologne, “Öyvind Fahlström: The Complete Graphics and Multiples”, 2001 BAWAG Foundation, Vienna, Austria, “Öyvind Fahlström - The Complete Graphics and Multiples”, 7 December - 3 March 2002. Tillou Fine Art, New York, “Öyvind Fahlström Drawings and Paintings / The Complete Graphics and Multiples”, 22 February - 5 April 2003. Museum of Contemporary Art De Domijnen, Sittard “Öyvind Fahlström: The Complete Graphics and Multiples”, Museum of Contemporary Art De Domijnen, 2003. Moderna Museet, Stockholm, “Explosion”, 2 June - 9 September 2012. Kunsthalle Düsseldorf, “Simon Evans & Öyvind Fahlström - First we make the rules, then we break the rules”, 15 December 2012 - 17 February 2013.
Literature: Sidney Janis Gallery, “Exhibition of New Work by Öyvind Fahlström”, 4-28 April 1973, New York, another example illustrated in the exhibition catalogue, no. 5. Moderna Museet, Stockholm, “Pop Art & Nouveau Réalisme”, 26 December 1991 - 9 August 1992, another example illustrated in the exhibition catalogue p. 26. Jean-Francois Chevrier et al., “Fahlström - Another Space for Painting”, 2001, another example illustrated pp. 148, 149. Also another example illustrated (detail) pp. 150, 151, and 152, as well as another example mentioned in the catalogue raisonné for the travelling exhibition “Öyvind Fahlström”, Museu d’Art Contemporani de Barcelona (MACBA), Barcelona, (18 October 2000 - 8 January 2001), p. 363. Elodie Evers, Magdalena Holzhey (ed.), “Simon Evans & Öyvind Fahlström - First we make the rules, then we break the rules”, 2012, another example illustrated p. 11.
Estimate: SEK 100 000 – 150 000 / EUR 9 080 – 13 620 (d)
481. Sam Francis (USA, 1923–1994) “Concert Hall Set I”.
Signed in pencil and numbered 72/75. Lithograph in colours, 1976.
Printed by George Page at The Litho Shop, Inc., Santa Monica, published by Louisiana Museum, Denmark. I. 57 x 46 cm.
Literature: Francis Archive SF-230.
Estimate: SEK 15 000 – 20 000 / EUR 1 370 – 1 820
482. Damien Hirst (Great Britain, 1965–) “Pharmacy”.
Signed in ink and numbered 60/200. Offset lithograph with die cut hole, 1992. Invitation to the exhibition with the same name, published by Cohen Gallery, New York. 21 x 21 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270 (d)
483. David Hockney (Great Britain, 1937–) “Beautiful and White Flowers” from: “Illustrations for Fourteen Poems by C.P. Cavafy”.
Signed in pencil and numbered 74/75 and dated 66. Etching and aquatint, 1966. Printed by Maurice Payne and Black, Alecta Studio, London, published by Edition Alecta, London. P. 34.6 x 22.3 cm. S. 48.4 x 36.5 cm.
Literature: Scottish Arts Council 58.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630 (d)
484. David Hockney (Great Britain, 1937–)
“My Window: No. 778, 17th April 2011”.
The complete edition with signed and numbered silkscreen in colours. Richly illustrated book of 248 pages, the silkscreen in the original portfolio and with the original packaging. I. 44 x 33 cm. S. 56 x 43.2 cm.
Estimate: SEK 200 000 – 250 000 / EUR 18 150 – 22 690 (d)
485. KAWS (USA, 1974–) “Untitled IV”, from: “Urge”.
Signed in pencil and numbered 90/250. Screenprint in colours, 2020. I. 28.5 x 22 cm. S. 44 x 33 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 540 – 5 450
486. KAWS (USA, 1974–) Chum (Black).
Painted cast vinyl, 2002. Signed KAWS 03 on the underside. Published by 360 Toy Group, New York (marked on the underside). Height 33 cm. Original box included.
Provenance: Bukowski Auctions, Contemporary Art & Design 646, 26 April 2023, cat. no. 489. Private Collection.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730
487. Martin Kippenberger (Germany, 1953–1997) “Tisch”. Numbered in pencil 13/24. Photogravure, 1996. Printed by Julie Dam, published by Niels Borch Jensen Editions. P. 39.5 x 29.5 cm.
Provenance: Stalke Galleri, Kirke Saaby, Denmark. Private Collection.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
488. Yves Klein (France, 1928–1962) “L’ours Pompon”.
Stamp-signed Yves Klein and Pompon. Resin with blue pigment mounted in a plexi box. Published in collaboration between the Estates of Yves Klein and the Association François Pompon, 2022, produced by Artémus Editions. Numbered 652/999 on the accompanying certificate. Plexi box 49 x 27 x 19 cm.
Provenance: Galleri GKM. Private Collection.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
489. Roy Lichtenstein (USA, 1923–1997) “Seascape II” from “Edition Mat Collection 65”. Signed in ballpoint pen and numbered 34/100 on the label verso. Colour screenprint and collage, 1965. Published by Edition MAT/Galerie Der Spiegel, Cologne. In the artist’s original frame 33.3 x 62.9 x 9 cm.
Literature: Corlett 40.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
490. Roy Lichtenstein (USA, 1923–1997).
Signed in pencil and numbered 77/120. Colour screenprint, 1995. Printed by Brand X Editions, New York, published by the artist and Kennedy for Senate. I. 33 x 49 cm. S. 57 x 69 cm. (BFK Rives).
Literature: Corlett 293.
Estimate: SEK 150 000 – 200 000 / EUR 13 620 – 18 150
491. Roy Lichtenstein (USA, 1923–1997) “Painting in Gold Frame”. Signed in pencil and numbered 2/60. Woodcut, lithograph, screenprint and collage, 1984. Printed and published by Gemini G.E.L., Los Angeles. I. 109.7 x 83.7 cm. S. 117.4 x 91.3 cm.
Literature: Corlett 206.
Estimate: SEK 225 000 – 250 000 / EUR 20 420 – 22 690
492. Roy Lichtenstein (USA, 1923–1997) “Bicentennial Print” from “America: The Third Century”.
Signed in pencil and numbered 133/200 and dated -75. Colour lithograph and screenprint, 1975–76. Printed by Styria Studio, New York, with their blind stamp, published by APC Editions. S. 76 x 55.5 cm.
Literature: Corlett 136.
Estimate: SEK 125 000 – 150 000 / EUR 11 350 – 13 620
493. Yoshitomo Nara (Japan, 1959–) “Cosmic Girls: Open Eyes & Closed Eyes” (2).
Offset lithographs in colour, two pieces. From an edition of 500 published by BALTIC Centre for Contemporary Art, Newcastle. 72 x 52 cm each.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540
494. Bruce Nauman (USA, 1941–) “Shit and Die”.
Signed in pencil and numbered 17/38 and dated -83. Drypoint etching.
Published by Gemini G.E.L., Los Angeles 1985. P. 15 x 24 cm. S. 40 x 57 cm.
Provenance: Anders Tornberg, Gallery, Lund. Private Collection.
Literature: Gemini 1241.
Estimate: SEK 125 000 – 150 000 / EUR 11 350 – 13 620
495. Jockum Nordström (Sweden, 1963–) “Lick my hand”. Signed in pencil and numbered 6/50. Aquatint and soft-ground etching, 2008. Published by Crown Point Press. S. 49.5 x 69.5 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 370 (d)
496. Robert Rauschenberg (USA, 1925–2008)
“Lotus I” from “The Lotus Series”.
Signed in pencil. Numbered 21/50 on the label verso. Inkjet print on Somerset paper, 2008. Published by Universal Limited Art Editions, New York. 113 cm x 154 cm.
Provenance: Wetterling Gallery, Stockholm. Private Collection.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
497. James Rosenquist (USA, 1933–2017) “Light Catcher”.
Signed in pencil and numbered 25/48. Colour lithograph, 2005. Printed and published by Universal Limited Art Editions, New York. S. 95 x 95 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 540
498. Gerhard Richter (Germany, 1932–) “Ulrike Meinhof”.
Signed in ink by Gerhard Richter and Inge-Maria Peters and numbered 91/120 on the label verso. Pigment print, 2015 after a photograph by Inge-Maria Peters from 1966, mounted on aluminum. Published by Texte zur Kunst, Berlin. I. 36 x 36 cm.
Literature: Butin 167.
Estimate: SEK 80 000 – 100 000 / EUR 7 260 – 9 080 (d)
499. Ed Ruscha (USA, 1937–) “Green Suds”.
Signed in pencil and numbered 54/100. Colour screenprint, 1971. Printed by Cirrus Editions, Los Angeles, published by Edizioni O, Milan. I. 45.5 x 61 cm.
Provenance: Björn Bengtsson, Varberg. Private Collection. Literature: Engberg 58.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
500. Ed Ruscha (USA, 1937–) “Grey Suds”.
Signed in pencil and numbered 61/100. Colour screenprint, 1971. Printed by Cirrus Editions, Los Angeles, published by Edizioni O, Milan I. 45.5 x 61 cm.
Provenance: Björn Bengtsson, Varberg. Private Collection.
Literature: Engberg 59.
Estimate: SEK 50 000 – 60 000 / EUR 4 540 – 5 450
501. Ed Ruscha (USA, 1937–) “Well, Well”.
Signed in pencil and numbered 39/50. Colour screenprint, 1979. Published by the artist. I. 31 x 121 cm.
Provenance: Björn Bengtsson, Varberg. Private Collection. Literature: Engberg 105.
Estimate: SEK 60 000 – 70 000 / EUR 5 450 – 6 360
502. Kenny Scharf (USA, 1958–) “Juicy Jungle”. Signed in pencil and numbered 85/150. Screenprint, 1988. Printed by Rupert Jasen Smith, New York, published by Martin Lawrence Limited Editions Inc., Los Angeles. S. 86 x 100.9 cm.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 370
503. Kenny Scharf (USA, 1958–) “Aqua Pollination”. Signed in pencil and numbered 85/150. Screenprint, 1987. Printed by Rupert Jasen Smith, New York, published by Martin Lawrence Limited Editions Inc., Los Angeles. S. 86 x 97 cm.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 370
504. Julian Schnabel (USA, 1951–) “Mys Sosunova to Mys Peschanyy (Soviet Union Tatar Strait)”. Signed in pencil and numbered 5/75. Screenprint and colour offset, 2010. Published by Fine Art Printing, Brooklyn, USA. S. 98 x 73 cm.
Estimate: SEK 18 000 – 20 000 / EUR 1 640 – 1 820
505. David Shrigley (Great Britain, 1968–) “Old Cat”.
Signed DS, dated and numbered 22/125 in pencil verso. Screenprint, 2022.
Published by Jealous Gallery & Print Studio, London. S. 76 x 56 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
506. David Shrigley (Great Britain, 1968–) “Everything is fine”.
Signed DS, dated and numbered 35/125 in pencil verso. Screenprint 2023.
Published by Shrig Shop, Copenhagen. S. 75 x 56 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
507. David Shrigley (Great Britain, 1968–) “The Elephant”.
Signed DS, dated and numbered 50/125 in pencil verso. Screenprint, 2023.
Published by Stephen Friedman Gallery, London. S. 76 x 56 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 730 (d)
Andy Warhol
Andy Warhol, born on August 6, 1928, in Pittsburgh, Pennsylvania, was the son of Slovakian immigrants. He played an essential role in shaping Pop Art by combining avant-garde creativity with commercial appeal. Starting in the early 1960s, his work explored the relationship between advertising, celebrity culture, and artistic expression across various mediums such as painting, printmaking, sculpture, film, and photography. By the time he passed away on February 22, 1987, he had become one of history's most renowned artists.
After earning a degree in Pictorial Design from Carnegie Institute of Technology in 1949, Warhol relocated to New York City. There, he quickly gained recognition as one of the most successful and widely imitated commercial illustrators of the 1950s, working with prestigious clients like Harper’s Bazaar and Tiffany & Co. Eventually shifting his focus to painting, he introduced groundbreaking conceptual and technical innovations.
His famous Campbell’s Soup Cans and Marilyn Diptych from 1962 exemplified his use of silkscreen printing. This technique eliminated the direct touch of the artist’s hand while allowing repeated images with subtle variations. In addition to his paintings, Warhol produced hundreds of sculptural replicas of everyday consumer products, such as Brillo Boxes, Kellogg’s Boxes, and Coca-Cola in 1964. His experimental films, including Empire (1963) and The Chelsea Girls (1966), explored themes of monotony, time, and repetition.
Warhol’s rise to international fame brought him numerous portrait commissions from celebrities and socialites. His silver-walled studio, The Factory, became a cultural hotspot in the 1970s, attracting artists, musicians, and trendsetters. Through his work, he both critiqued and embraced consumerism and celebrity, shaping generations of artists to come. Today, his art is featured in major institutions, including the Museum of Modern Art in New York, Moderna Museet in Stockholm, and the San Francisco Museum of Modern Art, among many others.
Bukowskis is delighted to include a collection acquired over many years by Tina and Bo Sederowsky. The collection is created with passion and sensitivity. Tina and Bo Sederowsky were in the right place at the right time and early on became enamoured with Warhol's visual world. The Collection includes lot number 510 – 515.
508. Andy Warhol (USA, 1928–1987) “$1.57 Giant Size”.
Screenprint on coated record cover, vinyl record, 1963. Published by Billy Kluver, New York to coincide with the “Popular Image Exhibition” at the Washington Gallery of Modern Art, Washington D.C., 18 April - 2 June 1963. 31 x 31 cm.
Literature: Feldman & Schellmann II.2.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350
509. Andy Warhol (USA, 1928–1987) “$1.57 Giant Size”.
Screenprint on coated record cover, vinyl record, 1963.
Published by Billy Klüver, New York to coincide with the “Popular Image Exhibition” at the Washington Gallery of Modern Art, Washington D.C., 18 April - 2 June 1963. Record sleeve houses a vinyl record with interviews from participating artists. 31 x 31 cm.
Literature: Feldman & Schellmann II.2.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
510. Andy Warhol (USA, 1928–1987) “Electric chair”.
Signed in pencil and numbered 34/250 verso. Colour screenprint, 1971. Printed by Silk Print Kettner, Zurich, published by Bruno Bischofberger, Zurich. S. 90 x 121.5 cm.
Provenance: Galerie Löwenadler, Stockholm. Tina & Bo Sederowsky Collection.
Literature: Feldman & Schellmann II.76.
Estimate: SEK 100 000 – 125 000 / EUR 9 080 – 11 350
511. Andy Warhol (USA, 1928–1987) “Flowers”.
Signed in ballpoint pen and numbered 24/250 verso. Colour screenprint, 1970. Printed by Aetna Silkscreen, published by Factory Additions, New York. S. 91.5 x 91.5 cm.
Provenance: Galerie Löwenadler, Stockholm. Tina & Bo Sederowsky Collection.
Literature: Feldman & Schellmann II.67.
Estimate: SEK 250 000 – 300 000 / EUR 22 690 – 27 230
512. Andy Warhol (USA, 1928–1987) Untitled, from: “Flash - November 22, 1963”.
Signed in ballpoint pen and numbered c12236 verso. Colour screenprint, 1968.
Printed by Aetna Silkscreen Products, Inc., New York, published by Racolin Press, Inc., Briarcliff Manor. S. 53.3 x 53.3 cm.
Provenance: Galerie Löwenadler, Stockholm. Tina & Bo Sederowsky Collection.
Literature: Feldman & Schellmann II.39.
Estimate: SEK 70 000 – 80 000 / EUR 6 360 – 7 260
513. Andy Warhol (USA, 1928–1987) “Cow”.
Signed in ballpoint pen. Screenprint in colours, 1966. Printed by Bill Miller’s Wallpaper Studio, Inc., New York. S. 114.5 x 75 cm.
Provenance: Galerie Löwenadler, Stockholm. Tina & Bo Sederowsky Collection.
Literature: Feldman & Schellmann II.11.
Estimate: SEK 60 000 – 80 000 / EUR 5 450 – 7 260
514. Andy Warhol (USA, 1928–1987) “Cow”.
Colour screenprint, 1971. Printed by Bill Miller’s Wallpaper Studio, Inc., New York. Published by Factory Additions, New York in conjunction with a Warhol exhibition at the Whitney Museum of American Art, New York. S. 114 x 76 cm.
Provenance: Galerie Löwenadler, Stockholm. Tina & Bo Sederowsky Collection.
Literature: Feldman & Schellmann II.11 A.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360
516. Andy Warhol (USA, 1928–1987) “Frölunda Hockey Player”. Unique screenprint in colours, on Lenox Museum Board, 1986. Signed by Frederick W. Hughes, (Executor of the Estate of Andy Warhol) and numbered T.P. 7/14 in pencil on a stamped Certificate of Authenticity on the reverse (one of 14 unique colour trial proofs, before the edition of 100 and 20 artist’s proofs). Published by Art Now Gallery, Göteborg, Sweden. S. 101.6 x 81.4 cm.
Literature: Feldman & Schellmann 202.
Estimate: SEK 150 000 – 200 000 / EUR 13 620 – 18 150
515. Andy Warhol (USA, 1928–1987) A collection of Warhol related magazines, books and records. 14 magazines, “Interview”, 1973-78. One of them signed by Andy Warhol with black pen. One magazine “New York, 1987 with Andy Warhol on the cover. Book, “POPism”, 1980, signed with a dedication ‘to Bo and Tina, Love Andy Warhol”, also signed with black pen on dust cover. Exhibition cataloge, Moderna Museet, Stockholm, 1970 (Third edition). Book, “Andy Warhol” by John Coplans. Book “Andy Warhol’s Exposures”. 8 books, Wayne Oestenbaum - “Porträtt” (2 copies), 2002, Andy Warhol - “A - a novel by Andy Warhol”, 1968, Peter Gidal “Andy Warhol - films and paintings”, 1971 (2 copies), John Coplans - “Andy Warhol”, 1971, “Andy Warhol’s Exposure”, 1979, “The Warhol Look”, 1997. “Andy Warhol - transcript of David Bailey’s ATV Documentary”. One paper bag with “Cow” cover, from the MOMA retrospective exhibition 1989. Two vinyl records, “Andy Warhol’s Velvet Underground featuring Nico”, german later pressing.
Provenance: Tina & Bo Sederowsky Collection.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
517. Andy Warhol (USA, 1928–1987) “Flowers (Hand Colored)”. Signed with initials in pencil, as well as signed in pencil and numbered 90/250 verso. Hand-coloured screenprint, 1974. Printed by Alexander Hienrici, New York, published by Peter M. Brant, Castelli Graphics and Multiples, Inc. New York with their stamp verso. S. 104 x 69.5 cm.
Literature: Feldman & Schellmann II.114.
Estimate: SEK 50 000 – 70 000 / EUR 4 540 – 6 360
518. Andy Warhol (USA, 1928–1987) “The Nun”, from: “Three portraits of Ingrid Bergman”. Signed in pencil and numbered 94/250. Colour screenprint, 1983. Printed by Rupert Jasen Smith, New York, published by Galerie Börjeson, Malmö. S. 96.5 x 96.5 cm.
Provenance: Bukowski Auctions, Modern Spring Auction 2000, cat. no 590. Private Collection.
Literature: Feldman & Schellmann II. 314.
Estimate: SEK 250 000 – 300 000 / EUR 22 690 – 27 230 (d)
Andy Warhol
Andy Warhol’s artistic exploration of fame and celebrity extends beyond his iconic works to his very lifestyle. Embedded within New York’s elite social circles from the 1960s onwards, Warhol engaged with figures ranging from Bill Murray to John Lennon, but it was his relationship with Mick Jagger that stands out as particularly significant. Their friendship, often highlighted in Warhol’s biographies and publicized in the media, became emblematic of the glamorous and rebellious jet-set culture of the 1970s.
Warhol spent much time with Jagger and his then-wife Bianca, and their dynamic was a defining feature of the period’s artistic and social scene. When Jagger commissioned Warhol to design the cover for the Rolling Stones’ Sticky Fingers album in 1971, Warhol was granted complete artistic freedom. The resulting image — a close-up of Joe Dallesandro’s crotch in denim — became one of the most provocative and boundary-pushing visuals in rock and roll history, encapsulating the raw, sensual energy of the band and their defiance of societal norms.
The collaboration between Jagger and Warhol continued into the mid-1970s. In 1975, Warhol released a portfolio of 10 silkscreen prints based on intimate photographs of Jagger taken by the artist himself. This series has since become one of Warhol’s most celebrated celebrity-themed works, demonstrating the artist’s fascination with the cult of fame and his ability to elevate everyday imagery into high art. Much like the Sticky Fingers album cover, the Mick Jagger silkscreens remain an enduring symbol of the powerful personalities of two of the most influential cultural figures of the 20th century.
519. Andy Warhol (USA, 1928–1987) “Mick Jagger”.
Signed in pencil by Andy Warhol and also signed in black felt tip pen by Mick Jagger, numbered in pencil 12/250. Screenprint in colours, 1975. Printed by Alexander Henrici, New York, published by Seabirds Editions, London. S. 110.5 x 73.2 cm.
Literature: Feldman & Schellmann II. 143.
Estimate: SEK 800 000 – 1 000 000 / EUR 72 600 – 90 750
520. Andy Warhol (USA, 1928–1987) “Mick Jagger”.
Signed in pencil by Andy Warhol and signed in felt-tip pen by Mick Jagger, numbered AP 40/50. Screenprint in colours, 1975. Printed by Alexander Henrici, New York, published by Seabirds Editions, London with their blind stamp verso. S. 111 x 73.2 cm.
Provenance: Falkkloos Auctions, 12 April 1997, cat. no. 618. Private Collection.
Literature: Feldman & Schellmann II. 144.
Estimate: SEK 800 000 – 1 000 000 / EUR 72 600 – 90 750
521. Andy Warhol (USA, 1928–1987) after, ”Andy Warhol”. Transfer-printed porcelain plaque in colours. Numbered 44/49 on the label verso. Published by Rosenthal studio-line in collaboration with the Andy Warhol Foundation. In original packaging. 51 x 51 x 2 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 730 – 3 630
522. Tom Wesselmann (USA, 1931–) “Seascape (Foot)”. Signed in pencil and numbered 129/150. Colour screenprint, 1968. Printed by documenta Foundation, Kassel, Germany. S. 61 x 59.5 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 450
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Estimates are given in Swedish kronor (SEK) and € (EUR). Bukowskis general terms and conditions for buyers and sellers, bidding instructions, and special terms and conditions for individual lots can be found at bukowskis.com. We also reserve the right for any possible typographical or printing errors.
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