Bukowskis | The Lindh Collection

THE LINDH COLLECTION

THE LINDH COLLECTION E VENING SALE, APRIL 28 AT 6 PM WAHRENDORFFSGATAN 8 , STOCKHOLM PLE ASE NOTE THAT THE SALE ALSO TAKES PL ACE ONLINE AT W W W. BUKOWSKIS .COM VIEWING APRIL 23-27, BERZELII PARK 1 , STOCKHOLM FOR ENQUIRIES AND ADVICE, PLEASE CONTACT: ANNA-K ARIN PUSIC , HEAD OF DEPARTMENT +46 (0) 8 - 614 08 32, ANNA-K ARIN.PUSIC@BUKOWSKIS.COM PEDRO WESTERDAHL, DIRECTOR SENIOR SPECIALIST +46 (0) 8 - 614 08 05, PEDRO.WESTERDAHL@BUKOWSKIS.COM ANDERS WELANDER, SPECIALIST PRINTS +46(0) 8 - 614 0 827, ANDERS.WELANDER@BUKOWSKIS.COM MARCUS KINGE, SPECIALIST MODERN ART +46(0) 76 - 126 21 53, MARCUS.KINGE@BUKOWSKIS.COM

BUKOWSKIS ARSENALSGATAN 4, BOX 1754, 111 87 STOCKHOLM, SWEDEN SWITCHBOARD: +46 (0) 8 - 614 08 00, FAX: +46 (0) 8 - 611 46 74 WWW.BUKOWSKIS.COM

THE LINDH COLLECTION

FOREWORD

Collections of fine art have always fascinated art historians; each story is unique. They contain personal stories about the collectors themselves as well as about a history of the time: an interweaving of events, loves and enchantments, new encounters and, not least, coincidences, unforeseen events. The Lindh collection is unusually enriched by such stories: entrepreneurs in the early 20th century, women adventurers and speedy car races, pioneering commercial ventures. To own one of these art works is to own a concentrated bit of history, a fragment of cultural heritage.

Bo and Margareta Lindh belonged to the intuitive and passionate collectors. Chagall’s incredibly delightful love scene and Picasso’s characteristically rapid and confident sketches that capture his beloved Mougins not only tell us something specific about the artists but also essential things about the Lindh’s love of the sunny and fragrant French Riviera and about their informed engagement in contemporary art. The artists they followed with great interest were then, as now, the foremost names on the art horizon. To find and be able to acquire “just those” works gave great joy - the correspondence between Lindh, gallerists and artists attest to that. The art works have remained uncirculated, in quarters that have remained untouched, ever since.

It gives us at Bukowskis great pleasure to once again be awarded the honour of selling an art collection of such distinction. The Lindh Collection is yet another pearl in a band of recent commissions: the Astra collection, the Marabou Collection, the Andersson family’s collection and Karin and Lars’s collection of photographs. Throughout the entire 20th century Bukowskis has conducted large sales of such collections. The first important large sale took place in 1873 and encompassed one of King Karl xv’s collections. One of the early 20th century’s most spectacular auctions concerned some of the works owned by the great collector, Christian Hammer, which were sold at five record-breaking auctions. Amongst the buyers was the then Countess Wilhelmina von Hallwyl, creator of the Hallwylska Museum. welcome to the lindh collection michael stor åkers, ceo march 2014

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GJEST VANG - A PIONEER INDUSTRIALIST

The extraordinary history behind the Lindh Collection began a few generations earlier in Norway, (back then still in a union with Sweden, since 1814). Bo Lindh’s maternal grandfather, Even Christian Gjestvang was born in 1853 in Nes (Hedmark), which is beautifully situated on a peninsula surrounded by Norway’s largest lake Mjösa.

He grew up in modest circumstances on his parents’ farm.

At the age of 15, Gjestvang began working as an apprentice in a store near Hamar. A few years later, he advanced to becoming an office clerk in the Norwegian capital Kristiania, where he completed a formal commercial education. The lessons he learned from his experiences, as well as his education, opened up new paths for Gjestvang and led him to start his own commercial enterprise in Kristiania in 1873.

Gjestvang, at the age of only 20, became a wholesale tradesman and retail dealer in machines and new technical equipment designed for an expanding industry – that of printing books. After moving to Stockholm in 1890, he established a paper and printing machine business and became a Swedish citizen on 11 May 1894. His business seems to have developed rapidly, and between

1897-1907, he served as executive director of Nyqvarn AB, which he had created together with Anders Jeurling, the founder of the newspaper Stockholms Tidningen. Gjestvang retained contacts with Nyqvarn AB as chairman of the board in 1907-08.

The following years were marked by great activity within Swedish trade and commerce. In 1898 Gjestvang founded the trade journal Svensk pappers-tidning, which maintained high quality and in 1900 became the official organ for the Swedish Association of Paper Mills. Gjestvang’s many other activities included being treasurer in the abovementioned association for 10 years (1905- 16) and serving as the official representative of Norway at the General Art and Industrial Exposition in Stockholm in 1897.

Alongside his activities in the paper and printing machine industry, Gjestvang established himself as Sweden’s first automobile retailer in 1903, first at Stora Vattugatan, then from 1912, at Strandvägen 7G. The number of cars sold annually increased markedly and for many years, Gjestvang was the largest importer of cars in Sweden. One of the reasons for this success was that the firm, Gjestvang & Co. became the general agent in Sweden for the popular

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American car, the Hudson. He expanded his agency by first importing the Peugeot and later introducing the Ford to the Swedish market. The company also imported Alfa Romeos and Studebakers.

Gjestvang’s importance in this context led to his joining the board of the Royal Automobile Club (KAK) in 1903. His clear business eye and good economic sense was of major importance for the club’s overcoming initial difficulties. Gjestvang’s comprehensive interest in automobiles also prompted his patronage in the beginning of the 1900s, for which KAK was very grateful. Among other things, he donated expensive competition trophies to the club. Gjestvang remained a member of the board of KAK until his death and was also the most assiduous participant in the club, as well as the board and executive committee meetings. Gjestvang, whose impressive lifework also included serving as the Persian General Consul in Sweden (1898-1932), died in Monte Carlo, Monaco, in 1932.

Given such strong genes, it is not surprising that Gjestvang’s daughter, Alexandra, not only became an energetic businesswoman, but also a veritable motor pioneer. Born in 1882 to Gjestvang and his wife Anne Elisabet, Alexandra, enthusiastically supported by her father, became the first woman in

Sweden to obtain a driving licence in 1907. Alexandra was often seen driving her Oldsmobile on the streets of Stockholm. Already before receiving her own driving licence, Alexandra went down in history as the only woman to enter Sweden’s first car race in 1904 – albeit then as a passenger.

Her experience from that race, however, soon became the exception – henceforth she would prefer to sit behind the wheel. During the 1920s and 30s, she took part in numerous car races. At the age of 50, with her son Bo, she participated in the prestigious Monte Carlo rally in 1932. Alexandra’s excellent skills as a rally driver were proven by achieving the 8th place in the large car division.

Parallel to her interest in driving cars, Alexandra continued in her father’s commercial footsteps.

In 1930 she began to study car manufacturing and sales in both the US and France. She was employed in her father’s company in 1931 after completing her studies. She gradually advanced first to head of sales in 1934 and then to the post of executive director.

Unfortunately Alexandra died in 1939 at an early age – only 57 years old – but her achievements live on in Swedish history. A women’s car rally takes place annually in her honour.

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BO AND MARGARETA LINDH

The story of the art collectors Bo and Margareta Lindh is about curiosity, love and respect for both art and its creators. When two soul mates meet, something very extraordinary happens; they become united by common interests and their lives are never the same afterwards. Life whirled on like a wonderful dance for Bo and Margareta after they met on a cultural tour to Leningrad. Their shared passion for music, art, ballet and opera took them often to Europe, but their times in France, where their dreams could be fulfilled and their senses sated by beauty and culture, were of prime importance.

They began collecting in the 1960s, purchasing art works from dealers and galleries and placing them in their Stockholm apartment as well as their house on the French Riviera. They acquired work by the most important artists, including both paintings and graphics by Chagall, Picasso, Buffet, Rouault, Kandinsky and Miró. The economic prerequisites had long been in place as Bo Lindh was the son of Alexandra Lindh, née Gjestvang, and the grandson of the Norwegian-born Even Christian Gjestvang. The foundations of their fortune had been laid by the grandfather in the early 20th century.

Bo’s mother, Alexandra Gjestvang, continued in her father’s footsteps, becoming famous as a skilful rally driver. Inheriting his family’s interest in cars, Bo became an engineer and took over the leadership of Gjestvang & Co. after his mother’s death. He held numerous important posts in The Swedish Automobile Import Association. He was also active within The Stockholm Sport Fishing

club and The Stockholm Aviators club after he had acquired a pilot’s certificate in 1935. In the 1950s he was advised to consider art as an investment and began to purchase water colours by Anders Zorn.

Among others, the artist’s early masterpiece Moderskärlek (Mother’s Love) and I sorg (In sorrow) – both coming up at Bukowksi’s Classic Sale, 3 June 2014, and the outstanding portrait of the French actor, and art collector, Coquelin Cadet. Through Bo Lindh’s will, the portrait was donated to the Swedish National Museum in 1983, via benefactors of the museum. What was initially thought of as an economic venture quickly turned into curiosity and a love of art. Even Zorn’s masterful etchings captured Bo’s interest and he acquired no less than 225 prints, a comprehensive collection with several unique pieces.

When Margareta entered the scene in the 1960s, the Lindh’s art collecting reached new heights and they began to acquire works by international artists. Margareta von Sneidern was an extraordinary woman who had also lived an exciting life before she met Bo Lindh. Margareta was the daughter of Älvsborgs county governor, Axel von Sneidern. She grew up at the Berg Manor in Dalsland and early on developed a great interest in art and music. She loved ballet, an interest that took her to Copenhagen where she attended Asta Mollerups dance school, a school which was famous not only in Denmark but all over Europe in the 1930s. While in Copenhagen, she also fell in love with and married the architect Count Otto Danneskiold-Samsøe in 1936. They moved to

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Sweden during the Second World War and had two sons. When the couple divorced and Margareta inherited the Berg family manor, she showed herself to be not only a person of culture but also a woman of action. She decided to open a guest house on the estate, which she ran successfully during the 1950s.

With her strong personality, she became known as “the Countess of Dal” and was greatly respected not least for her determination. She later also ran a hotel at Bovallstrand on the west coast of Sweden.

Her interest in art never waned but in fact blossomed in all directions after she met Bo Lindh.

Their joy and enthusiasm in acquiring a new work of art is revealed in the Lindhs’ correspondence with artists and gallerists. Direct contact with the artist is often important to collectors and the Lindhs’ genuine interest and curiosity often led them all the way to them. We can see an example of this in Chagall’s letter where he thanks them for their interest in his painting and the Lindhs’ own note on the envelope: “We were too shy to contact him again” in response to Chagall’s invitation to come and see him.

There were many visits to the Foundation Maeght in Vence, a mecca of art during the 1960s, and the Lindhs also often visited Paris; in 1965 they bought the magnificent painting La Rêve de Chagall sur Vitebsk from the Galerie de L’Elysée, 69 rue de Faubourg-St. Honoré in Paris, owned by the personable Alex Maguy. Margareta and Bo Lindh were on their way from the opera in Paris when they passed the gallery with the shining blue dream in the window. When she saw it, Margareta

became transfixed. The next day the painting was delivered to the Lindhs’ hotel – a fantastic gift of love from Bo to Margareta. It is also exciting to read some of the correspondence from the gallery to Sweden when the painting was paid for $18,000 on 15 May 1965, and the freight charge from Paris to Stockholm on 1 June, 1965, was, according to the receipt, 6,717 Swedish kronor.

The Lindhs bought Pablo Picasso’s Paysage, Méditerranéen from Alex Maguy after he visited the couple on the Riviera; a letter attests to his pleasure in meeting them and visiting their wonderful house. Maguy wrote again after delivering the Picasso, praising their acquisition, an exquisite addition to their “private museum”. Their frequent contacts with the art world was an integral part of the Lindhs’ life and most certainly meant a great deal to them. They later bought George Rouault’s Mater Dolorosa from Maguy’s gallery. Bernard Buffet’s colourful still life from 1964 was purchased directly from Buffet’s gallerist Maurice Garnier, who represented Buffet throughout the artist’s life.

Bo Lindh died in 1982 and Margareta Lindh in 2013. Even in her old age, Margareta continued to travel and enjoy art, although the acquisitions declined in number. Perhaps that magic moment when two people become transfixed by the same work of art had vanished for Margareta Lindh, who had felt the joy of sharing the experience of art with someone with the same passion and love.

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GEORGES ROUAULT

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The image of a mother with a child in her arms is a universal symbol of love, comfort and hope.

Georges Rouault’s icon-like image follows the Christian tradition in both composition and title: “Mater Dolorosa”, which refers to the suffering mother of God - Virgin Mary and her pain.

However, in Rouault’s painting, the mother and child are not turned towards the viewer, but towards each other. They lean their faces towards one another, the forms meet and mirror each other, perhaps as a reminder that the mother shares the child’s joy as well as his sorrow.

Mater Dolorosa was executed in 1950 by a mature artist whose art is created in simplifying and refining, cultivating and reducing forms to their essentials. Nevertheless, Rouault never went so far as abstraction – his art remained figurative and representative. What we see is not an attempt at depiction or interpretation of external reality, but the artist’s inner vision of an object, intellect and feelings. As a young man, Rouault studied at École des Beaux-Arts with the symbolist Gustave Moreau, who made a great impression on the young artist by instructing him to turn to his inner voice, to seek inspiration in religion, philosophy and spirituality. Throughout his life Rouault remained a devout Catholic and a dedicated artist.

Art was for him a means of communicating through colour and form; his images were created directly from his imagination and not from observing the surrounding world. In his youth, he was a glass-blower’s apprentice and worked with restoring the lead glass windows in churches. The design of the windows, with their black contours and glowing colours, is said to have influenced his style and motifs, which we can also discern in Mater Dolorosa.

Rouault created at the same time as the cubists, fauvists and expressionists, and even though he exhibited along with the fauvists at the beginning of the 20th century, he never joined any particular group. He preferred to preserve his independence,

which led him to occupy a unique position amongst 20th century artists. In his own words: “Art, the art I aspire to, will be the most profound, the most complete, the most moving expression of what man feels when he finds himself face to face with himself and humanity. Art should be a disinterested, passionate confession, the translation of the inner life as it used to be in the old days in the hands of our admirable anonymous Frenchman who sculpted the figures on the cathedrals”.

Mater Dolorosa is an exquisite example of Rouault’s late work, which is characterized by an ingenious treatment of colour, where they give an impression of being illuminated from within. His earlier rather muted colour scale is in the present work exchanged for a clearer and lighter one dominated by Veronese green. The motif harks back to an earlier piece, Il Serait Si doux D’aimer, done in 1922 as graphic number pl.xii in the portfolio e ntitled Miserere. This powerful series of graphics was made between 1912-18 and 1922-27. As completed, Miserere contained 58 graphic plates first published in 1948. It is during this period that the present work was created. As a whole, the work can be seen as a dirge over the human condition and that of the world, where Rouault investigates the complexities of human existence. The clown’s distorted masks, the soldiers’ path to death and the prostitutes’ sadness and desperation convey the lost soul of humanity. Miserere also contains depictions of the life and works of Jesus, whose suffering bears the sins of the world and makes possible a path to salvation and liberation.

Mater Dolorosa is built upon the tension between frailty and hope. Its hopeful light green colour coupled with the mother’s protective embrace of the little child offers the viewer a meditative calmness, but also the knowledge that the future holds suffering, solace and assurance.

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GEORGES ROUAULT France 1871 – 1958 “Mater Dolorosa” (“il serait si doux d’aimer”) (d) Signed G Rouault. Executed in 1950.

Oil and gouache on paper laid down on canvas 65 x 50 cm.

PROVENANCE Alex Maguy - Galerie de L’Élysée, Paris (No. 1107).

The Collection of Bo and Margareta Lindh, Stockholm, Sweden (acquired from the above in 1966) LITERATURE Bernard and Isabelle Rouault Dorival, “Georges Rouault Catalogue Raisonné; L’œuvre Peint/Complete Painting”, Ed. André Sauret, Monaco, 1988, listed as no. 1623.

OTHER Certificate issued by Alex Maguy signed and dated 25 March 1966 enclosed.

Inscription on verso by the artists daughter, Madame Isabelle Rouault.

Estimate: SEK 500 000 – 700 000 / EUR 56 400 – 78 950

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FERNAND LÉGER

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In his entire artistic production, Fernand Léger moved between the abstract and the figurative. In his greatest works, he achieved a synthesis between these two opposites, which the painting in the Lindh Collection, Composition à Lóiseau well illustrates.

The painting was made in 1947 when Léger had returned to Paris after spending five years in exile in America during the Second World War. America made a strong impression on him; not only New York City, pulsating and lively with all its advertising and neon signs, but also the countryside – especially the little village of Rouses Point on the Canadian border, which he often visited. Nevertheless, his return to France renewed his love for his homeland and filled him with an enthusiastic belief in the future. In 1946 he described his feelings in an article in Arts de France: “I want to express what I felt in returning to France, the joy I have had in rediscovering my country…I assure you that people have made great progress in France.

I assure you that a magnificent evolution has come about…I have faith in France.”

Through his art, Léger wanted to contribute to the rebuilding of his country and was very productive in the years after the war. During this period, alongside his painting, he worked with a number of different techniques and materials including ceramics, sculpture, glass and mural painting.

He also opened his own art school, Atelier Fernand Léger, which many young American artists were drawn to because of Léger’s reputation in the US. His students included the artists Kenneth Nolan, Sam Francis and Richard Stankiewicz.

Despite his many other projects, Léger continued intensively with painting, which in this period, took on a freer and more organic expression. The geometrical forms receded in favour of more repre-

sentative elements, often inspired by nature and its surroundings. In 1950 he explained his art in the following terms: The plastic life, the picture, is made up of harmonious relationships among volumes, lines and colours. These are the three forces that must govern works of art. If, in organizing these three elements harmoniously, one finds that objects, elements of reality, can enter into the composition, it may be better and may give the work more richness.

Léger perceived that during this post-war period, in contrast to that of post World War I, human beings were losing contact with nature and becoming prisoners of the machine. This insight led him, in the late 40s, to abandon the modern city in favour of the countryside, a move reflected in the piece on auction, Composition à L’oiseau. The painting is filled with light and vital colours that are intensified against a cool, neutral background.

The artist has combined pure abstract floating shapes with the tree’s extended boughs which dissolves the boundary between reality and fantasy.

Léger often made several versions of his compositions, which gave him the possibility to investigate, through small variations, the relationship between colour and form. The motif of Composition à L’oiseau recurs in two paintings, both from 1947: “Composition sur fond Jaune” and the larger piece, Composition aux deaux Oiseaux. The latter is part of the Johannesburg Art Gallery’s collection and contains two flying doves -- the symbol of peace.

Composition à L’oiseau is an exquisite example of the closeness and love of nature that suffused Fernand Léger’s art at the end of the 1940s and shows how the artist was able to harmonize colour, form and line into a lively, organic whole.

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FERNAND LÉGER France 1881 – 1955 “Composition à L’oiseau, esquisse” (d) Signed F. Leger and dated -47. Canvas 33 x 46 cm.

PROVENANCE Earlier in the collection of Consul Carl Eric Schlyter, Stocksund, Sweden.

The collection of Bo and Margareta Lindh, Stockholm, Sweden.

LITERATURE Georges Bauquier, “Fernand Léger - Catalogue raisonné, 1944 - 1948”, 2000, listed as no. 1271, illustrated full page in colour p. 183.

Estimate: SEK 1 000 000 – 1 500 000 / EUR 112 750 – 169 150

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FERNAND LÉGER France 1881 – 1955 “Paysage aux vaches” (d) Signed F.L. and dated -36. Gouache 65 x 50 cm.

PROVENANCE Galerie Louis Leiris, Paris (No G. 252).

Engineer Stig Törnebohm, Malmö, Sweden (acquired from the above).

The collection of Bo and Margareta Lindh, Stockholm, Sweden (acquired from the above in 1963).

EXHIBITIONS Galerie Louis Leiris, Paris, “F. Léger - Dessins et Gouaches 1909-1955, 19 February - 22 March 1958, no. 49, illustrated full page in colour in catalogue.

Malmö Museum, “Léger”, September - October 1959, no. 33.

LITERATURE Bernard and Isabelle Rouault Dorival, “Georges Rouault Catalogue Raisonné; L’œuvre Peint/Complete Painting”, Ed. André Sauret, Monaco, 1988, listed as no. 1623.

OTHER Compare with the painting “Paysage animé” executed in 1937.

Estimate: SEK 250 000 – 300 000 / EUR 28 200 – 33 850

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MARC CHAGALL

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How much does one actually change during one’s lifetime? Chagall’s life was long and eventful, full of journeys, fear, loss and success.

His life began in Vitebsk, Belarus in 1887, in a village that basically looks the same as it did in the Middle Ages. It ended in another part of the world, after two world wars, a Holocaust, a man landing on the moon and an art revolution. He went from poverty to exceptional success.

However, Chagall himself remained the same – a dreamer, a romantic and a prophet of beauty.

He fell in love twice in his life: the first time with Bella Rosenfeld (who died in 1944); the second time with Valentina Brodsky, who he married in 1952. In contrast to the many relationships and female figures of Picasso, the other great 20th century artist, Chagall’s life revolved around these two women. His love for them was even greater than for God, who with Chagall, has more of a role as guest and observer.

La Rêve de Chagall sur Vitebsk made a deep impression on its owner. It is easy to imagine how its glowing blue captured the newly married couple Bo and Margaretha Lindh’s attention in Paris at night. They were on their way home from the opera. What wouldn’t one give to know what was resounding in their ears when they first saw the painting?

The painting’s motif reveals Chagall’s most beloved theme -- the city, which he never tired of during his long life. The title says Vitebsk, but it could just as well have been Paris -- the blue rooster, the fish, calf head, flowers and the bride.

But where is the husband? In an earlier painting (A Midsummer Night’s Dream from 1939), the bride stands embraced by a man with the head of a goat. The bridal-veiled woman in the present work is being guarded and protected by two large animals, and in addition, a witness that hovers in a cloud in the overflowing blue night sky.

La Rêve de Chagall sur Vitebsk is attributed to the 1950s, probably 1953. Chagall is at the peak

of his career and his diary is fully booked with exhibitions and public commissions all over the world. In addition, he is newly married and very much in love. He is interested in what goes on in the epicentre of art, which had made a gradual move from Paris to New York, but other things are more important. In general, it may be said that Chagall always maintained his independence from artistic radicalism. His mysticism stems from his Russian-Jewish religious roots, his colours from Fauvist hedonism. His free style and joy in narrative powers are his own invention. Chagall personifies the absolute synthesis between the extraordinary story of the birth of the Russian avant-garde and its influence on the Parisian art revolution.

In 1907, when Chagall was 20 years old, he moved to St. Petersburg and began studying at the Imperial art school taught by the famous artist, Nikolaj Roerich. Chagall continued his studies in St. Petersburg until 1910 and, some years later, moved to Paris where he socialized with the artists living in Montparnasse.

During the Second World War Chagall and his family were forced to flee from Paris. They hid in the Villa air-Bel in Marseille, where they received help to move on through Spain and Portugal. In 1941 the Chagall family arrived in the US, which became their place of refuge. He returned to Europe in 1946, as a widower, and moved to Provence, France in 1949. During the 1940s he rediscovered his vitality in colour and his art exploded in the joy inspired by love. His figures were more curvaceous and the colours glowed intensely. In 1952 Chagall married Valentina Brodsky, “Vava”, and the couple made many trips to Greece.

In 1957 Chagall visited Israel where he, in 1960, created a stained-glass window for the synagogue in the Hadassah University Clinic in Jerusalem.

He later also made an art piece for the new Knesset.

A Chagall museum was founded in 1997 in his childhood home at Pokorovskaja ulitsa 29 in Vitebsk.

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MARC CHAGALL France 1887 – 1985 “Le rêve de Chagall sur Vitebsk” (d) Signed Chagall Marc. Executed in 1950-53.

Gouache, watercolour, pastel and mixed media on paper 84 x 77 cm.

PROVENANCE Alex Maguy - Galerie de L’Élysée, Paris (No. 1098).

The collection of Bo and Margareta Lindh, Stockholm, Sweden (acquired from the above 15 May 1965).

EXHIBITIONS Venice Biennale, Italy, 1958, no. 125 (according to label on verso).

OTHER Receipt from Alex Maguy - Galerie de L’Élysée, Paris dated 15 May 1965 and certificate issued by Alex Maguy signed and dated 24 May 1965 enclosed.

Letter from Marc Chagall to Bo Lindh dated 20 October 1965 enclosed.

Estimate: SEK 4 000 000 – 6 000 000 / EUR 451 000 – 676 450

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PABLO PICASSO

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In 1961 Picasso moved into his new villa, NotreDame-de Vie, in the little village of Mougins, 20 minutes by car from Cannes. The landscape is barren but cypress trees provide both fragrance and shade in the summer. The old hills create spaces in the landscape which give an illusion of total seclusion from the rest of French civilization in general and the shrill resort culture of Cannes in particular. Picasso had recently married the beautiful and 45 years younger Jacqueline Roque. He was enjoying his old age like a celebrity of Hollywood dimensions. His creativity was flourishing and he worked as if he were 20 years old and not 80.

Here is the landscape. Buildings are intimated, but it is the blue mountains that blend in with the lively and massive clouds that have captured Picasso’s interest in this very special painting - Mougins, his haven during the last 10 years of his incredibly eventful life.

What has occupied the artist here? In addition to his monumental commissions, his production from this period is dominated by motifs with Jacqueline and mythological figures brought to life in burlesque and bacchanalian scenes. Imaginary figures mixed with an inner circle of family and friends.

But just at the moment of this painting Picasso is utterly alone in his landscape, and his perspective is unusually “zoomed out”. There is a devilish playfulness in this seemingly innocent view – just compare it with Braque’s landscapes from the early 20th century (for instance, the Castle at La Roche Guyon in Moderna Museet’s collection). In the early work landscapes are presented in complicated prismatic patterns.

Sixty years later, the relationship is the opposite.

It is as if Picasso wants to tease his comrades and in extension the whole modernist movement by giving us a child’s landscape: the houses at the bottom, then the trees, the road and then the mountains and above it all, the sky. The circle is closed.

Picasso’s importance for the 20th century’s world

view – which we are still living with – continues unabated. In the early part of the century, together with Georges Braque (and Kazimir Malevitj), he turned his back on representative reality and cast himself into an adventure which is still not over - anything is possible. Braque died in 1963 but Picasso continued with unimpaired vitality. Many have tried to put their finger on exactly what it is that makes his art so monumental. Power and immediacy? Over 50 years have passed since this landscape was painted but it is as if we are looking at it being created in front of our very eyes, at this very moment. And so it will also be in 500 years.

There, in the brush stroke’s scalpel-like movement in the air lies Picasso’s glowing creative powers, among the mountains and the clouds created in that here and now. my sky at twilight, pablo neruda (20 love poems and song of despair, 1968) In my sky at twilight you are like a cloud and your form and colour are the way I love them.

You are mine, mine, woman with sweet lips and in your life my infinite dreams live.

The lamp of my soul dyes your feet, the sour wine is sweeter on your lips, oh reaper of my evening song, how solitary dreams believe you to be mine!

You are mine, mine, I go shouting it to the afternoon’s wind, and the wind hauls on my widowed voice.

Huntress of the depth of my eyes, your plunder stills your nocturnal regard as though it were water.

You are taken in the net of my music, my love, and my nets of music are wide as the sky.

My soul is born on the shore of your eyes of mourning.

In your eyes of mourning the land of dreams begin.

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PABLO PICASSO Spain 1881 – 1973 “Paysage, Méditerranéen” (d) Signed Picasso and dated 27.4.63 on verso.

Canvas 81 x 130 cm.

PROVENANCE Alex Maguy - Galerie de L’Élysée, Paris (No. 1392).

The collection of Bo and Margareta Lindh, Stockholm, Sweden (acquired from the above in 1969).

EXHIBITIONS Moderna Museet, Stockholm, Sweden, “Pablo Picasso”, 15 October 1988 - 8 January 1989, no. 88.

LITERATURE Christian Zervos, “Pablo Picasso, vol. 23 Oeuvres de 1962-1963”, no. 214, illustrated pl. 214, p. 101.

OTHER Certificate issued by Alex Maguy and correspondence between Alex Maguy and Bo and Margareta Lindh enclosed.

Estimate: SEK 5 000 000 – 7 000 000 / EUR 563 700 – 789 200

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BERNARD BUFFET

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vase - is very special. Without a doubt, one always recognizes a painting by Bernard Buffet, as one does Andy Warhol’s iconic images – and both artists are considered great pioneers of the postwar period. Their styles of expression were in keeping with this traumatized period and paved the way for radical new art.

Bernard Buffet was born in 1928 in Paris in a well-to-do bourgeois family. The only subject he showed any interest to in school was natural science, which gave him innumerable subjects for drawing and where he sketched many plants and animals. Making a precise, objective and detailed study of an object is a consistent feature of his paintings and graphics. When he was 15 years old, he was accepted as a student in the Ecole National Supérieure des Beaux-Arts. In 1945-46, he began to develop his characteristic harsh and austere style, which broke away completely from the prevailing figurative paintings as well as the abstract paintings of the time. The strongest and most important pieces in Buffet’s production have been created between 1945 and 1965, which is also the period the current painting dates.

Bernard Buffet was considered something of an “enfant terrible” in French art circles after 1945.

Already in his 20s, he had achieved great commercial success, thanks in part to the gallerist Maurice Garnier. In 1955, after a vote organized by the magazine Connaissance des Arts, he was ranked number 1 of the “10 foremost post-war artists”. He was made a member of L´Academie des Beaux Arts in 1974 and received several major awards, amongst others, the Chevalier de la legion d’Honneur, and his work has been exhibited in numerous places. There are only a few paintings

by Bernard Buffet in Sweden and it is extremely rare that an oil painting -- a still life with flowers, reaches the Scandinavian auction market.

Bernard Buffet “La Peinture, on nén parle pas, on ne l’analyse pas, on la sent” “Painting, we do not talk about it, we do not analyse it, we feel it.” The words are Bernard Buffet’s own and describe how we can approach his painting. Regardless of whether he is painting landscapes, still lifes or portraits, his art involves a direct summons compelling the viewer to be confronted with reality. The motif Bouquet de fleurs is old-fashioned and almost trivial. Still lifes with flowers have been painted ever since the 1600s, often with heavy symbolism. Bernard Buffet’s still lifes can seem remote from the Dutch 17th century masters’ magnificent displays, but there is a clear connection – our existential condition and the “immobile objects” that populate it. Where the older painting excels in trompe l’oeuil and refined detailed studies, Bernard Buffet offers expressionism and “aggression”. The prominent black lines that are so characteristic of this artist form an action-packed, near as nigh explosive composition. The linear black “crash” against the petals’ colours, which boldly place themselves outside of the sharp black lines, result in a striking dynamic.

The early 20th century concretists’ and suprematists’ revolutionized the way of working with the surface of the canvas, but for Bernard Buffet, the canvas was never merely a field for lines. His paintings most often lack fore- and background and it is the interplay between the lines and colours that lead the observer to sense a space. The empty surface reinforces the emblematic elements.

What is distinctive in Buffet’s paintings is how he highlights individual objects and permits them to occupy a dominating position, reinforced by their being in total isolation. This creates duplicity in the image as it contains both recognizable and unfamiliar elements. The objective reality of the surface, the minimalistic trick of illusion – flowers in a

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BERNARD BUFFET France 1928 – 1999 “Bouquet de fleurs” (d) Signed Bernard Buffet and dated -64 Canvas 100 x 65 cm.

PROVENANCE Galerie David et Garnier, Paris.

The collection of Bo and Margareta Lindh, Stockholm (acquired from the above according to label on verso).

Estimate: SEK 1 000 000 – 1 200 000 / EUR 112 750 – 135 300

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ANDRÉ LANSKOY

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ANDRÉ LANSKOY France 1902 – 1976 Papier collé (d) Signed Lanskoy. Executed in 1959.

Collage with watercolour on paper 50 x 32 cm.

PROVENANCE Galerie Louis Carré, Paris.

Svensk-Franska Konstgalleriet, Stockholm, Sweden.

Bo and Margareta Lindh, Stockholm, Sweden (acquired from the above in the 1960s).

OTHER The authenticity of this work has been confirmed by M. André Schoeller, March 2014.

Estimate: SEK 60 000 – 80 000 / EUR 6 800 – 9 050

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PRINTS

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GEORGES BRAQUE France 1882 – 1963 “Etude de nu (nu)” (d) Etching, 1907-08 (printed 1953), on Arches paper, signed in pencil and numbered 27/30, printed by Visat, Paris, published by Maeght, Paris.

P. 27,6 x 19,8 cm. S. 56,3 x 37,8 cm.

PROVENANCE The collection of Bo and Margareta Lindh, Stockholm, Sweden.

LITERATURE Vallier 1.

OTHER The edition of 30 printed on Rives according to Vallier.

Estimate: SEK 50 000 – 70 000 / EUR 5 650 – 7 900

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GEORGES BRAQUE France 1882 – 1963 “L’oiseau et son ombre II” (d) Aquatint in colours, 1961, on BFK Rives paper, signed in pencil and numbered 34/75, printed and published by Maeght, Paris.

P. 33,5 x 58,6 cm. S. 52,3 x 74,7 cm.

PROVENANCE The collection of Bo and Margareta Lindh, Stockholm, Sweden.

LITERATURE Vallier 157.

Estimate: SEK 100 000 – 125 000 / EUR 11 300 – 14 100

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WASSILY KANDINSKY Russia 1866 – 1944 “Lithographie für die vierte Bauhausmappe” (d) Lithograph in colours, 1922, signed in pencil (edition 100), printed by Der Graphischen Druckerei des Statlichen Bauhaus, Weimar.

L. 27,8 x 24 cm. S. 35 x 34 cm.

PROVENANCE Galerie Pierre, Stockholm.

The collection of Bo and Margareta Lindh, Stockholm, Sweden.

LITERATURE Roethel 162.

Estimate: SEK 100 000 – 125 000 / EUR 11 300 – 14 100

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MARC CHAGALL France 1887 – 1985 “Nocturne” (d) Lithograph in colours, 1963, on Arches paper, signed in pencil and inscribed Epreuve d’artiste and numbered IX/X, published by Maeght, Paris.

L. 53 x 41 cm, S. 65 x 50.5 cm.

PROVENANCE The collection of Bo and Margareta Lindh, Stockholm, Sweden.

LITERATURE Mourlot 386.

Estimate: SEK 80 000 – 100 000 / EUR 9 050 – 11 300

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MARC CHAGALL France 1887 – 1985 “Les trois acrobates” (d) Lithograph in colours, 1956, on Arches paper, signed in pencil and inscribed Epreuve d’artiste.

L. 65 x 50 cm. S. 66 x 50 cm.

PROVENANCE The collection of Bo and Margareta Lindh, Stockholm, Sweden.

LITERATURE Mourlot 169.

Estimate: SEK 70 000 – 90 000 / EUR 7 900 – 10 150

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MARC CHAGALL France 1887 – 1985 “Le cirque a l’étoile” (d) Lithograph, 1965, on Arches paper, signed in pencil and numbered 10/50.

L. 62 x 46,5 cm. S. 73 x 53,5 cm.

PROVENANCE The collection of Bo and Margareta Lindh, Stockholm, Sweden.

LITERATURE Mourlot 436.

Estimate: SEK 80 000 – 100 000 / EUR 9 050 – 11 300

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BUKOWSKIS GENER AL TERMS - BUYERS

estimates

then have the right to decide whether a paddle is to be handed out and also on an upper limit, if any, of the total purchasing sum. A paddle that has been signed for may be revoked during an on-going auction.

Bids should be made in a clear voice or indicated by a clear sign, such as showing the paddle to the auctioneer. When the hammer falls, the highest bidder will be deemed to have entered into a binding purchase agreement and must then show the paddle to the auctioneer for the purchase to be registered. After the auction the paddle must be returned to Bukowskis.

The auctioneer has the right to decide by which amount a bid must be raised to be considered as a new bid. If bids are equal, the auctioneer will decide which bid is successful. The auctioneer may ignore any bids made and decide whether bidding is to be resumed if there is any uncertainty as to the last bid made. The auctioneer has the sole right to finally decide in any disputes that may arise during the auction proceedings.

Estimates of lots [shown in the catalogue] are based on market appraisals of the items before they are sold at auction and do not constitute predictions of the sales prices but merely serve as guidance to prospective buyers. The prices which lots ultimately fetch may be well above – or well below – the estimate shown.

items’ condition All items are sold “as is” and in accordance with the information in the auction catalogue. It is the buyer’s responsibility to examine and assess the condition and quality of items before the auction takes place. Reproductions in the catalogue are intended for identification purposes only. Bukowskis will not be liable for any damage or defect that does not appear from such reproduction. Bukowskis reserves the right to change the catalogue information. Changes or amendments will be announced or notified at the time of auction.

Details given in the catalogue such as artist (author), authenticity, age, technique, condition or provenance, as well as any details that may have been given in an opinion issued by Bukowskis regarding the item’s general condition, damage or repairs to the item etc., are merely intended as guidance to the buyer when examining the item.

Bukowskis will not be liable for any misrepresentation of such details unless the misrepresentation was made by gross negligence.

Bukowskis is responsible for ensuring that details in catalogues, together with any changes and amendments, as to the artist (author) of a lot reflects the generally accepted opinion when the catalogue is printed. Bukowskis will not be liable if such details were misrepresented unless the incorrect details were given by gross negligence.

Bukowskis will not be liable if the generally accepted opinion as to the artist (author), authenticity, age, technique, condition or provenance of a lot is changed after the catalogue is printed.

Bukowskis cannot accept liability for natural wear and tear, minor damage or defects, any mounting on canvases, condition of frames, naturally occurring changes in materials such as bleaching in paper and cracking in wood, cut margins, stains and yellowing on graphic works. Clocks and clockwork are sold as works of art and Bukowskis gives no warranty for their technical functioning as timepieces. Lots are sometimes sold with a specific statement or affidavit from external experts. In the circumstance a lot is sold without a specific statement/affidavit, it does not constitute grounds for the buyer not to fulfil his or her obligations under these general terms.

bidding instructions in the auction room, by fax or over the internet Bukowskis accepts bidding instructions on behalf of customers, free of charge. Bidding instructions in writing may be handed in at Bukowskis’ premises or submitted by telefax +46 (0)8 611 46 74. In doing so, the customer must produce or fax an identification document and, if applicable, his or her customer number. Bidding instructions in writing must have reached Bukowskis’ customer services department by 05.00 p.m. on the day preceding that day of the auction to which the bidding instructions relate.

Bidding instructions may also be submitted over the internet (www.bukowskis.com) at the day of auction until one hour before the start of the auction. In order to submit bidding instructions over the internet, the customer must have a registered account with Bukowskis. Revocation or amendment of bidding instructions must be made in writing in the manner and within the time stipulated [by Bukowskis] for submission of written bidding instructions. Revocation of bidding instructions submitted over the Internet can also be made over the Internet within the time stipulated [by Bukowskis] for submission of bidding instructions over the Internet.

Bukowskis reserves the right to disregard bidding instructions if, in Bukowskis view, the principal lacks capacity to pay for a submitted bid or if the required identification of the principal is lacking.

Bukowskis will treat bidding instructions in confidence and bid as advantageously as possible on behalf of the principal up to the price stated in the bidding instructions. If bids are equal, the first bid received will be successful. Alternate bids may only concern two lots.

The principal is responsible to check whether submitted bidding instructions have resulted in a purchase. Details of auction results will be given on the Internet at www.bukowskis.com and made available at Bukowskis’ premises. After the auction the buyer will receive a written confirmation of the purchase from Bukowskis. The principal will be liable for any purchases brought about as the result of unclear or incorrect bidding instructions. All bidding instructions and any revocation or amendment of bidding instructions by fax or over the Internet are made at the sender’s risk. Bukowskis will not accept liability for any loss which the principal may incur if Bukowskis fails to carry out bidding instructions.

complaints Any defects must be reported without undue delay after the buyer noticed, or should have noticed, the defect. If the buyer has not complained within three years from acceptance of the goods he or she will lose the right to file a complaint.

liability for faults Unless otherwise provided by mandatory law, Bukowskis’ liability for defects in purchased lots is restricted to the following. If the lot is impaired by a defect, Bukowskis shall in the in the first place have the right to remedy the fault, provided that remedy may be made without unreasonable cost or inconvenience for Bukowskis. In the second place, Bukowskis shall have the right to pay value compensation to the buyer at an amount corresponding to the defect (the value compensation shall be calculated on the basis of the estimated price). If remedying or payment of value compensation cannot be effected, or is not made within reasonable time after the buyer has complained of the defect, the buyer shall be entitled – if the fault is of material importance to the buyer and Bukowskis has recognised this – to withdraw from the purchase. In case of withdrawal, the buyer shall be entitled to repayment of the amount which he or she has paid to Bukowskis on account of the purchase against return of the lot.

telephone bidding Bukowskis offers telephone bidding facilities. Bidders wishing to bid by telephone must notify this in writing by fax +46 (0)8 611 46 74 sent to Bukowskis’ customer services department not later than 05.00 p.m. on the day preceding that day of auction to which the bid relates. The application must state the lot or lots to which the bidding refers and the telephone number at which the bidder may be reached at the time of the bidding. The application must also include a copy (sent by fax) of the identification document, and, if applicable, the customer number. Telephone bidding facilities are limited to the number of telephone lines available and, if necessary, Bukowskis may decide on the priority between the bidders who have applied for telephone bidding. Telephone bidding is made at the bidder’s risk

bidding in the auction room Persons wishing to participate in the bidding at an auction must sign for a numbered paddle at Bukowskis prior hereto. Bukowskis will

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collection and care of lots that have not been collected

and Bukowskis will not accept liability if bidding is not made, irrespective of the reason for this. The bidder undertakes to bid minimum the estimated price. The bidder is aware of and accepts that provision of telephone bidding services involves certain efforts and costs for Bukowskis and that, if necessary, Bukowskis may have to decide on priority between the bidders who have applied for telephone bidding. For this reason, Bukowskis has the right to charge a fixed fee in the amount of SEK 250 if a bidder who has applied for telephone bidding, and who has been accepted by Bukowskis, does not answer on the agreed tele-phone number at the agreed point of time.

Purchased lots must be collected within eight working days from the day of auction. Payment, if full must be received by Bukowskis (and appear from Bukowskis’ bank account) before lots are collected.

Any items not collected within the above stipulated time will be subject to a storage charge of SEK 50, including VAT, for each lot and each day. Furniture and other bulky items will be charged with SEK 100, including VAT. If lots are not collected within the above stipulated time, Bukowskis will take reasonable measures for the care and custody of items on the buyer’s behalf. In doing so, Bukowskis is entitled to carefully hand over [deliver] the item to a third party for continued custody after which Bukowskis’ duty of care will cease. All costs for transport and storage incurred by Bukowskis with respect hereto will be charged to the buyer.

At the buyer’s request, Bukowskis will arrange for transport of lots to its branches in Gothenburg and Malmö. A transport cost according to a separate pricelist will then be charged. Bukowskis will have the right to resell items that have not been collected within three months from the day of auction in accordance with the terms that appear from the section Payment above. If possible, the buyer shall be notified before such resale takes place. All transports of items on behalf of the buyer will be matt at the buyer’s expense and risk.

buyer´s premium Lots are sold subject to a buyer’s premium of 18% plus VAT (22.5% including VAT) on the hammer price. If the hammer price exceeds SEK 10 million, the buyer’s premium is 12% plus VAT (15% inclusive of VAT) on the exceeding part.

resale right (droit the suit) In accordance with the Copyright Act (SFS 1960:729) and the EU Directive 2001/84/EG, an additional fee for the resale right in connection with resale of works of art and applied art will be charged.

Resale right is copyright law remuneration to the benefit of the artist (the author) of an original work of art during his or her lifetime and to his or her heirs for seventy years after the author’s death. The fee is based on the hammer price and charged at the following percentages within the respective intervals: 5% up to EUR 50,000; 3% between EUR 50,001 and EUR 200,000; 1% between EUR 200,001 and EUR 350,000; 0.5% between EUR 350.001 and EUR 500.000; 0.25% on the portion of the sales price exceeding EUR 500,000. However, the total amount of the fee must not exceed EUR 12,500.

Conversion from EUR to SEK will be made in accordance with the applicable European Central Bank exchange rate on the day preceding the first day of auction. However, no fee will be charged if the sales price does not exceed 5% of the basic amount under the Act (SFS 1962:381) on general insurance (that is, for the year 2010 no fee will be charged for sales prices below SEK 2,120). Auction lots that are subject to droit de suite are marked by (d) in the catalogue. Amendments in respect of droit de suite for a lot will be announced (amendment list) or notified at the time of auction.

final price list Final price lists will be available at Bukowskis’ premises and on the Internet at www.bukowskis.com.

reproduction Bukowskis may photograph or otherwise reproduce items for printing purposes, advertisements and other documentation purposes.

Such photographs and other reproductions are the property of Bukowskis and may be used for purposes unrelated to the instructions to sell.

disputes Any disputes shall be finally settled in accordance with Swedish law, Stockholm District Court being the court of first instance.

export permit The Act (1988:950) on national cultural objects etc., contains a permit requirement for export of certain, specified, old Swedish and foreign cultural objects. Cultural objects that are to be exported outside the European Union also require a specific export permit in accordance with the Council Regulation (EEC) No 3911/92. Applications for such permits shall be sent to the Central Board of National Antiquities, Box 5405, 114 84 Stockholm, Sweden.

payment Payment must have reached Bukowskis within 8 working days from the day of auction. Payment may be made to Bukowskis’ bank giro by stating the OCR number or to Bukowskis’ bank account. Payment may also be made at Bukowskis’ cashier’s office by a bank or credit card, a bank money-order made out to Bukowskis or the buyer or a Swedish cheque. If payment is made by credit card, the card company’s charge will be added to the total. Eurocheques and foreign cheques are not accepted. For security reasons, Bukowskis cannot accept payment in cash.

If payment is not made in due time Bukowskis has the right to take one or several of the following measures:

use of personal data The (Swedish) Personal Data Act (PUL) aims at protecting private individuals against violation of their personal integrity when personal information is being used. Personal data provided in connection with a selling or buying commission or otherwise within the scope of a customer or contractual relationship with Bukowskis will be used by Bukowskis for the administrations and performance of Bukowskis’ obligations related to the auction business and under the law.The personal data may also be processed for market and customer analyses and statistics and for marketing purposes. Personal data may be supplemented by collecting from private and public registers. For the above-stated purposes, personal data may be disclosed to other companies within the Bukowski Group and to companies with which the Group cooperates. A person who does not want his or her personal data to be used for direct marketing purposes must notify Bukowskis to this effect in writing and a person who wishes further information of, or change any of, his or her personal data that are being processed by Bukowskis must make a written request to this effect in writing to Bukowskis.

* Insist on the purchase and demand payment; * Charge for a reminder in the amount of SEK 50; * Charge interest on overdue payment by 2% per month; * Rescind the purchase; * Resell the lot on the buyer’s behalf. In case of a resale, the buyer should, if possible, be notified before the sale takes place. If lots are resold, Bukowskis will be entitled to decide on the estimated price whether a reserve price should be set or not. Bukowskis may satisfy its claims and costs of selling the lot plus costs for the resale out of the proceeds received. If the sales price reached at the resale does not cover Bukowskis’ claims and the costs for the resale, the buyer will be liable to pay the difference.

If the proceeds of sale do not cover Bukowskis’ claims, the buyer will be liable to pay the difference. Any balance remaining after settlement will be returned to the buyer.

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BUKOWSKIS västergötland Elisabeth Palmstierna Borruds säteri, Hästhagen 8 542 93 Mariestad, Sweden Phone +46 - 501 - 260 22 elisabeth.palmstierna@bukowskis.com

head office Arsenalsgatan 4 Box 1754 111 87 Stockholm, Sweden Showroom: Berzelii Park 1 Phone +46 - 8 - 614 08 00 Fax +46 - 8 - 611 46 74 info@bukowskis.com

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norway Cecilie Benedicte Fearnley Madserud Allé 11 NO-0274 Oslo, Norway Phone +47 - 48 40 8000 cecilie.b.fearnley@bukowskis.com

östergötland Anders Olsén Linnégatan 21 602 23 Norrköping, Sweden Phone +46 - 11 - 18 42 30 anders.olsen@bukowskis.com

denmark Charlotte Horneman Lassen Elmevej 5 DK 2950 Vedbaek, Denmark Phone +45 - 22 47 79 74 danmark@bukowskis.com

småland Crister Rålin Albert Engströms väg 5 554 48 Jönköping, Sweden Phone + 46 708 - 36 39 02 crister.ralin@bukowskis.com

belgium Christina af Jochnick Ave. de la Reserve 14 BE-1640 Rhode St. Genese, Belgium Phone +32 - 2 - 358 29 64 christina.af.jochnick@bukowskis.com

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switzerland Åsa Bittel-Pettersson 4 Rue Charles-Bonnet CH-1206 Genève, Switzerland Phone +41 - 79 - 415 44 71 asa.bittel@bukowskis.com

united kingdom Anna Grundberg 30 Hofland Road W14 0LN London, UK Phone +44 - 797 6554 439 anna.grundberg@bukowskis.com

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

fr ance Harald Friberg 55 Rue des Gravilliers FR-750 03 Paris, France Phone +33 - 1- 40 29 01 11 harald.friberg@bukowskis.com

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Lotta Ehrenborg, 161 Rue du Journans Segny FR-01170 Gex, France Phone +33 - 450 416 802 lotta.ehrenborg@bukowskis.com Ann Berntson Villa Les Trois Vents Domaine L’Ereste France 1830 Avenue des Templiers FR-06140 Vence Phone +33 - 493-58 95 15 ann.berntson@bukowskis.com germany Elisabet Hellstedt Pariser Strasse 12 DE-107 19 Berlin, Germany Phone +49 - 30 - 882 41 51 elisabet.hellstedt@bukowskis.com italy Liselott Schweitz Felici Viale dei Promontori 278 IT-001 22 Rom, Italy Phone +39 - 338 682 11 15 liselott.schweitz.felici@bukowskis.com spain Richard Björkman Urb. Bel Air Park, 12, esc 5 ES-296 88 Estepona, Spain Phone +34 - 629 545 359 spanien@bukowskis.com

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THE LINDH COLLECTION VIEWING APRIL 23 - 27, 2014, BERZELII PARK 1, STOCKHOLM, SWEDEN

AUCTION APRIL 28 - 29, 2014, WAHRENDORFFSGATAN 8, STOCKHOLM, SWEDEN THE LINDH COLLECTION EVENING SALE, APRIL 28 AT 6 PM

FOR ENQUIRIES AND ADVICE, PLEASE CONTACT: Anna-Karin Pusic, 08-614 08 32, anna-karin.pusic@bukowskis.com Pedro Westerdahl, 08-614 08 05, pedro.westerdahl@bukowskis.com Anders Welander, 08-614 08 27, anders.welander@bukowskis.com Marcus Kinge, 08-32 43 62, marcus.kinge@bukowskis.com

ILLUSTRATION CAPTIONS P. 4: Bo and Margareta Lindh in their home in Stockholm P. 7: Alexandra Lindh (née Gjestvang) with her son Bo P. 8: Bo Lindh with Alexandra Lindh and Even Christian Gjestvang P. 11: Bo and Margareta Lindh

Authors: Pedro Westerdahl, Paulina Sokolow, Anna-Karin Pusic Marcus Kinge, Karin Kvicklund, Lovisa Törnsten Graphic design: Patrick Waters Final art: Christine Ohlander Photo: Patrick Miller and Lars Gustafsson Set design: Linda Ring Getty Images Photo editing: Malin Erkkonen Print: TMG, Stockholm

MORE OBJECTS FROM THE LINDH COLLECTION WILL BE SOLD ATT BUKOWSKIS CLASSIC SALE IN JUNE 2014 © Copyright 2014 Bukowskis