Contemporary Art & Design 658

LIVE AUCTION OCTOBER 22–23, 2024

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FOR INQUIRIES PLEASE CONTACT Head Specialist Contemporary & Modern Design Jonatan Jahn, +46 703 92 88 60 jonatan.jahn@bukowskis.com Head of Design/Specialist Modern & Contemporary Decorative Art & Design Camilla Behrer, +46 708 92 19 77 camilla.behrer@bukowskis.com Specialist Modern & Contemporary Decorative Art & Design Karl Green, +46 700 07 94 25 karl.green@bukowskis.com

Chief Specialist Modern & Contemporary Decorative Art & Design Eva Seeman, +46 708 92 19 69 eva.seeman@bukowskis.com Head Specialist Carpets, Textiles & Islamic Works of Art Christopher Stålhandske, +46 708 19 12 58 christopher.stalhandske@bukowskis.com

COVER: 379A. Yves Klein, ‘Untitled Blue Monochrome (IKB 154)’.

BACK: 379A. Yves Klein, ‘Untitled Blue Monochrome (IKB 154)’, verso.

Head Specialist Art/Deputy Managing Director Andreas Rydén, +46 728 58 71 39 andreas.ryden@bukowskis.com Specialist Contemporary Art Louise Wrede, +46 739 40 08 19 louise.wrede@bukowskis.com Specialist Photographs & Contemporary Art Karin Aringer, +46 702 63 70 57 karin.aringer@bukowskis.com Specialist Prints Marcus Kinge, +46 739 40 08 27 marcus.kinge@bukowskis.com

Live auction Tuesday October 22 From 2 pm (CEST) Design

Lot. no 23 – 142

From 5 pm (CEST) Important Timepieces

Lot. no 1001 – 1117

Live auction Wednesday October 23 From 2 pm (CEST) Photography Contemporary Art Prints

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Lot. no 143 – 260 261 – 428 429-465

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Gaetano Pesce: A Visionary in the Service of Postmodernism Bukowskis proudly presents two of Gaetano Pesce’s (1939–2024) most iconic works. A monumental “Moloch” floor lamp and a “Golgotha” chair will be presented at the leading auction in Scandinavia for contemporary art and design – Contemporary Art & Design.

Gaetano Pesce was an Italian architect and designer who can undoubtedly be considered one of the most influential figures in the postmodern design movement. Through his groundbreaking approach and irresistible desire to break away from the strict ideals of modernism, Pesce shaped a new direction in design and architecture, where individuality and human emotion took centre stage.

Pesce was born in La Spezia, Italy, and from an early age, he displayed a rebellious spirit that would define his entire career. He was among the first to challenge the dominance of modernism, where mass production and mechanical perfection were often prioritised over the unique and personal. With his concept “Nobody’s Perfect,” Pesce introduced a new view on serial production, where every object, despite being produced in multiple copies, would be unique and marked by the imperfections of the human hand. This challenged the modernist idea that furniture should be uniform and machine-perfect.

Pesce’s works were not merely functional objects; they were also expressive, conceptual art pieces that communicated ideas and emotions. For him, communication was more important than function. This approach often gave his objects deeply symbolic meanings, such as the floor lamp “Moloch” from the early 1970s, which not only served as a light source but also as a powerful metaphor for the downsides of commercialism and consumerism.

As a central figure in the postmodern movement, Pesce influenced many other designers, not least the members of the Memphis Group, which became one of the most prominent collectives in postmodern design in the 1980s. Pesce’s legacy lives on, not only through his groundbreaking works but also through the significant impact he has had on generations of young designers, who continue to be inspired by his courage to challenge norms and push the boundaries of what design can be.

Even after his passing in 2024, Gaetano Pesce’s visions live on, both through his own creations and in the ever-evolving world of design. His work reminds us of the importance of preserving the human and individual in an age dominated by mass production and standardisation. The chair “Golgotha,” now featured at auction, broke new ground in combining serial production with unique expression. Pesce showed us that the imperfect and unique can not only be beautiful but also deeply meaningful.

26. Gaetano Pesce, a ‘Moloch’ floor lamp, ed. 009, Bracciodiferro, Italy.

27. Gaetano Pesce, a ‘Golgotha’ chair, Bracciodiferro, Italy.

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23. Gaetano Pesce (Italy, 1939–2024) a “Sansone II” table, Cassina, Italy 1987.

Tabletop cast in resin, frame and legs in lacquered steel and polyester with profiled red coloured feet, height 41 cm, dimensions of the top ca 114 x 114 cm.

Provenance: A Swedish private collection. Purchased at Thysells Möbler in Anderslöv, Sweden, in the early 1990s.

Literature: France Vanlaethem, “Gaetano Pesce: Architecture, Design, Art”, Rizzoli 1989, compare p. 100.

Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630

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23A. Gaetano Pesce (Italy, 1939–2024) a “Broadway” chair model “543”, Bernini, Italy, post 1993.

Frame in steel, seat and back in green polyurethane, plastic foot ends with springs, marked in the seat DES. GAETANO PESCE BERNINI S.P.A ITALY. Height 74 cm, seat height 45 cm.

This lot is being sold on behalf of the Swedish Enforcement Authority.

Provenance: Private Collection, Sweden.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070

24. Gaetano Pesce (Italy, 1939–2024) a wall clock, Fish Design, Italy, 1990s.

Resin in blue, red, and white, dials in black metal, maker's mark FISH DESIGN 356. Diameter ca 30 cm.

Provenance: Acquired in New York in the 1990s.

Estimate: SEK 5 000 – 6 000 / EUR 450 – 530

25. Ettore Sottsass (Italy, 1917–2007) a “Filicudi” table, Zanotta, Italy, post 1992.

Profiled legs and frame in beech, silk-screen printed melamine top, maker's mark Zanotta. Height 74 cm, 200 x 90 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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26. Gaetano Pesce (Italy, 1939–2024) a “Moloch” floor lamp, ed. 009, Bracciodiferro, Italy, ca 1970–71.

Steel and bronze anodised aluminium, internal glass shade, base and springs in steel, wooden detail, maker's mark MOLOCH REDISEGNO DI GAETANO PESCE PRODUZIONE-BRACCIODIFERRO-PRIMO CENTINAIOMESEMPLARE N.009.

Adjustable height ca 220–270 cm, shade diameter ca 65 cm. Designed in 1970 and executed in an edition of approximately 20 numbered copies, of which the present lamp is number 9.

Provenance: Private Collection, Sweden, since the late 1990s.

Literature: “Domus”, no. 525, September 1972, compare p. 38. Emilio Ambasz (ed.), “Italy: The New Domestic Landscape: Achievements and Problems of Italian Design”, Museum of Modern Art 1972, compare p. 97. Giuliana Gramigna, “Repertorio 1950–1980 Survey Of 30 Years Of Italian Design”, Arnoldo Mondadori Editore 1985, compare p. 357. Charlotte & Peter Fiell, “1000 Lights Vol. 2: 1960 to present”, Taschen 2005, compare pp. 130‑131.

Glenn Adamson & Gaetano Pesce, “Gaetano Pesce: The Complete Incoherence” The Monacelli Press 2022, compare pp. 96-97 and 99.

Estimate: SEK 400 000 – 600 000 / EUR 35 370 – 53 050

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Moloch – Gaetano Pesce Italian architect and designer Gaetano Pesce’s role in the postmodern design movement cannot be overstated. As one of the most influential designers of our time, with a pioneering and innovative approach to design that still lives on today as a great source of inspiration for young designers, Pesce created furniture and objects that crossed borders.

In 1970, the market-leading Italian furniture company Cassina wanted to work with the influential designer but considered that Pesce’s designs stood out as far too radical to be marketed under their own name. Therefore, Bracciodiferro is founded - a sister company intended to give Pesce an artistic sanctuary.

The monumental floor lamp Moloch was one of the first products launched by Bracciodiferro between the years 1970-72. Pesce saw the need for a fixture that could fill large halls and public spaces. In the spirit of the Dadaist artist Marcel Duchamp, Pesce chose an already existing product; the Norwegian designer Jac

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Jacobsen’s table lamp “L-1” from 1937 and manufactured by Luxo.

By radically enlarging the lamp, it became more than a functional object - an iconic totem and metaphor for commercialization and consumption. Pesce named the floor lamp after the ancient Canaanite god Moloch, who in the Hebrew Bible is associated with the practice of child and animal sacrifice and described as an insatiable monster which Pesce surely wanted to highlight as an antithesis to the prevailing commercialization of society.

Moloch was originally intended to be produced in an edition of one hundred, but it is estimated that between twenty and thirty examples were made before production was discontinued in 1975. The present lamp is number 009 in this edition. A Moloch lamp can be found in the collections of the Museum of Modern Art in New York.

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Golgotha – Gaetano Pesce With a deep-rooted curiosity to explore new methods and materials, the Italian Gaetano Pesce stood out as a true design pioneer. The Golgotha chair was part of a series of ground-breaking, conceptual works, on the border between art and design, which were presented in 1972. The suite belongs to one of Pesce’s first experiments that fully realized the idea of mass-produced uniques - or series of originals - as he himself called it. Pesce wanted to move away from smooth, modernist serial production and instead focus on unique objects.

Golgotha is a limited and diversified series; around thirty chairs are believed to have been produced, and no two are alike. In addition to the chairs, the suite also included a diamond-shaped and a trapezoidal table in two different sizes. The suite refers to the site immediately outside Jerusalem’s walls where, according to Christianity’s four canonical gospels, Jesus was crucified. The chairs allude to the Shroud of Turin - the burial shroud used to wrap the body of Jesus - and the table to the Church of the Holy Sepulcher where Jesus is said to have risen from the dead. The theme was intended to remind us of the sacramental value that objects had in traditional society, where every table was ultimately an altar, every chair a throne and every meal a realization of the Eucharist, an opening to the transcendental. The present chair has a significant provenance in the form of the architect and designer Alessandro Mendini, friend and colleague of Pesce.

Thence through the Galleria Colombari in Milan and via auction

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houses, ultimately ending up in a private collection in Sweden.

The Golgotha suite was the first project launched under the Bracciodiferro brand – a sister company to the market-leading Italian furniture company Cassina. The company was founded in 1970 with the ambition to give Pesce an artistic sanctuary. Cassina saw Pesce’s greatness, but the objects and projects were considered too radical to market under his own name.

With the Golgotha suite, Pesce began an exploration of a new material, resin, which is a type of liquid plastic that hardens and becomes solid. The revolutionary method enabled serial production where all items become unique. The chair is made by hand from a fiberglass-reinforced fabric, which is soaked with resin.

The backrest got its shape by being hung on a line below the seat and placed on a 45-centimeter-high cube. Before the blank fully hardened, a person had to sit on it to shape it. Thus, no two chairs were alike. Unique products were of the time and broke with the modernist view of industrially produced design. The project is the basis for a large part of Pesce’s continued artistry and later works such as the objects for Fish Design and the furniture in the “Nobody’s perfect” series.

The Golgotha suite testifies to Pesce’s greatness as a creator and inspirer within the postmodern design movement. Chairs from the suite can be found in the collections of several important institutions, such as the Museum of Modern Art in New York.

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27. Gaetano Pesce (Italy, 1939–2024) a “Golgotha” chair, Bracciodiferro, Italy, 1972.

Resin soaked Dacron and fiberglass cloth, stamped with manufacturer's mark Sedia Golgotha Dis. Gaetano Pesce Prodotta Da Bracciodiferro S.R.L. Genova Italia. Height 99.5 cm, seat height 46 cm. This work is from a limited and diversified series; around thirty chairs are believed to have been produced, and no two are alike.

Provenance: Alessandro Mendini, Italy. Galleria Colombari, Milan. Private Collection, France. Wright, Chicago, Utopia: Lost and Found, 1 April 2008, lot 810. Private Collection, Europe. Sotheby's, Paris, Arts Decoratifs Du Xxe Siecle & Design Contemporain (PF1204), 6 June 2012, lot 132. Private Collection, Sweden. Acquired at the above sale.

Literature: France Vanlaethem, “Gaetano Pesce: Architecture, Design, Art”, Rizzoli 1989, compare p. 60. Glenn Adamson & Gaetano Pesce, “Gaetano Pesce: The Complete Incoherence”, The Monacelli Press 2022, compare pp. 94–95 and 100–101.

Estimate: SEK 200 000 – 300 000 / EUR 17 690 – 26 530

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28. Philippe Starck (France, 1949–) a neon “Easylight” lamp, Electrorama, France, ca 1979.

Makrolon polycarbonate, fluorescent tube behind a red lacquered metal grid, black polyurethane ends, original electrical cord, maker's mark Starck Product. Length ca 144 cm. Original wallmounts included.

Provenance: Private collection, Sweden, reportedly acquired in 1979 in London.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

29. Anna Castelli Ferrieri (Italy, 1918–2006) a lounge chair model “4841”, Kartell, Italy, 1980s.

Seat in moulded recycled polyethylene, on a wheeled base, loose cushion covered in patterned textile, marked Kartell MADE IN ITALY designer Anna Castelli Ferrieri. Height 73 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

30. Roy Lichtenstein (USA, 1923–1997) after, a carpet, “Dialog Art Collection”, machine-made, c 250 x 203 cm, Vorverk & Co. Designed in 1987–1988.

This lot is being sold on behalf of the Swedish Enforcement Authority.

Provenance: Private Collection, Sweden.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070

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31. Borek Sipek (Czech Republic, 1949–2016) an “Ota Otanek” chair, Vitra, post 1988.

Enamelled steel, the back rest in copper, seat and legs in blackened wood, label marked. Height 75 cm.

Literature: Alexander von Vegesack, “Borek Sipek - The Nearness of the Far Architecture - Design”, Vitra Design Museum, 1992, p. 11.

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890

32. Rose Uniacke (Great Britain, 1962–) a “Plaster Cone Hanging Light”, Rose Uniacke, United Kingdom.

Frame in fibreglass and plaster, sculpted and painted white, chain and ceiling mount in patinated metal. Diameter 41 cm, shade height 49.5 cm, total height ca 150 cm.

Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330

33. Rose Uniacke (Great Britain, 1962–) a “Plaster Cone Hanging Light”, Rose Uniacke, United Kingdom.

Frame in fibreglass and plaster, sculpted and painted white, chain and ceiling mount in patinated metal. Diameter 41 cm, shade height 49.5 cm, total height ca 150 cm.

Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330

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34. Vladimir Kagan, a “Serpentine Sofa with Arm”, Vladimir Kagan, USA, 2023.

50. Angelo Mangiarotti, a console table, La Sorgente del Mobile, Italy, 1970s.

41. Pierre Chareau, a “Quart De Rond Lamp” table lamp, Galerie MCDE, France, 21st century.

393. Christo, “The Pont Neuf, Wrapped (Project for Paris)”.

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34. Vladimir Kagan (USA, 1927–2016) a “Serpentine Sofa with Arm”, Vladimir Kagan, USA, 2023.

Fully upholstered in white velvet, on a blackened wooden base, maker's mark Vladimir Kagan A Crafted Original Design 21534. Length 340 cm, seat height 40 cm, height 73 cm.

Provenance: Ordered directly from Vladimir Kagan, USA.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

35. Pietro Chiesa (Italy, 1892–1948) a “Luminator” floor lamp, Fontana Arte, Italy, 2018.

Base in stainless steel, LED light source, marked Fontana Arte Made in Italy 2018.

Height 184 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

36. Jean-Michel Frank (France, 1895–1941) & Adolphe Chanaux (France, 1887–1965) a pair of “Dossier Droit 1932” armchairs, no. 195 & 196, Ecart, Paris, 2021.

Fully upholstered, covered in a coral red velvet fabric, oak feet, maker's mark Ecart Jean-Michel Frank Adolphe Chanaux 2021 195 & 196. Seat height 40 cm, height 80 cm, width 80 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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37. Warren Platner (USA, 1919–2006) a “Platner Coffee Table”, Knoll, post 1966.

Base in nickel-plated steel rods, glass top with profiled edge. Height 40 cm, diameter 107 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

38. Harvey Probber (USA, 1922–2003) a pair of armchairs, USA, 1960s-70s.

Chrome-plated steel frame, removable cushion, seat and back upholstered in green velvet, labelled Furniture Designed by Harvey Probber International Union Label. Height 67 cm, seat height 45 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

39. Edward Barber & Jay Osgerby (Great Britain) a “Halo” table lamp, Hermès, post 2019.

White porcelain from Limoges, cord covered in cowhide leather, marked inside HALO lampe à poser Made in Italy, the cord marked HERMÈS PARIS. Diameter 33 cm, height 38 cm. Packaged in the original box with all accessories.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

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67. Niklas Runesson, a coffee table, his own studio, Stockholm, 2022.

76. Hanna Hansdotter, an early “Quilted Print” vase, Konstfack, Stockholm, ca 2016–2017.

40. Eileen Gray, a “Bibendum” armchair, ClassiCon, Germany. Knoll, post 1966.

394. Juan Uslé, “Autonomos”.

28. Philippe Starck, a neon “Easylight” lamp, Electrorama, France, ca 1979.

358. Linn Fernström, “Bland ruiner”.

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40. Eileen Gray, a “Bibendum” armchair, ClassiCon, Germany.

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40. Eileen Gray (Ireland, 1878–1976) a “Bibendum” armchair, ClassiCon, Germany. Knoll, post 1966.

Frame of chromed steel tubing, padded seat and back upholstered in brown leather, marked in the steel ClassiCon XD20060 Eileen Gray AUTHORISED BY ARAM DESIGNS LTD. Height 72 cm.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

41. Pierre Chareau (France, 1883–1950) a “Quart De Rond Lamp” table lamp, Galerie MCDE, France, 21st century.

Base in black patinated metal with an irregular surface, two alabaster shades.

Height 30 cm, width 25 cm, depth 22 cm.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070

42. Afra & Tobia Scarpa (Italy) a “Soriana” easy chair, Cassina, Italy, post 1970.

Upholstered in green leather, with a backrest in chromed steel, mounted on wheels and rear legs. Height 70 cm, seat height ca 38 cm.

Provenance: Nordiska Galleriet, Stockholm.

Estimate: SEK 30 000 – 35 000 / EUR 2 660 – 3 100

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45. Pierre Augustin Rose, a “Craft Oval” coffee table, France, post 2018.

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43. Afra & Tobia Scarpa (Italy) a set of four chairs model “121”, Cassina, Italy, post 1965.

Legs in ash, seat and back in black lacquered plywood. Height 80 cm, seat height 45 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

44. Antonio Citterio (Italy, 1950–) an “Eos” screen and console table, Maxalto for B&B Italia, Italy, post 2003.

Frame and top in chrome plated steel, glass walls with a thin metal mesh, maker's mark. Height 160 cm,width 120 + 40 + 40 cm, total width 200 cm, depth ca 32 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

45. Pierre Augustin Rose (France) a “Craft Oval” coffee table, France, post 2018.

Lacquered wooden frame, high-gloss base, gouged top, brass plate PIERRE_AUGUSTIN_ROSE. Length 240 cm, width 105 cm, height 38.5 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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46. Workstead (USA) a pair of “Helios Ada Wall Lamps”, Ludwig and Larsen, USA, 2021.

Bronze-patinated metal, maker's mark Ludwig & Larsen 8/26/21. Shade diameter 29 cm, depth from wall 10 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

47. DelightFULL (Portugal) a “Matheny” floor lamp, Portugal, post 2010.

Shade made in steel profiles, base in black marble with a steel frame.

Height 165 cm, diameter ca 35 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

48. Achille & Pier Giacomo Castiglioni (Italy) a “Mezzadro” stool, Zanotta, Italy, 1970s.

Chrome-plated steel, seat in chrome-plated sheet metal, leg end in painted wood, marked MEZZADRO DESIGN A. CASTIGLIONI. Height 51 cm.

Estimate: SEK 4 000 – 6 000 / EUR 360 – 530

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49. Lindsey Adelman, an “Agnes Chandelier 14” ceiling lamp, Roll and Hill, USA, post 2010.

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49. Lindsey Adelman (USA, 1968–) an “Agnes Chandelier 14” ceiling lamp, Roll and Hill, USA, post 2010.

Base in black patinated brass, swivel joints, 14 light sockets with cylindrical shades in white glass. Height ca 55 cm + pendant ca 55 cm, width ca 86 cm, length ca 184 cm.

Estimate: SEK 70 000 – 90 000 / EUR 6 190 – 7 960

50. Angelo Mangiarotti (Italy, 1921–2012) a console table, La Sorgente del Mobile, Italy, 1970s.

Top in mahogany, four conical legs in cast bronze. Height 72 cm, length 220 cm, width 80 cm.

Estimate: SEK 90 000 – 100 000 / EUR 7 960 – 8 850

51. Aldo Tura (Italy, 1900–) a bar cabinet, Tura Milano, Italy, 1970s.

Base upholstered in lacquered goatskin, handles and details in brass, interior with glass shelves, manufacturer's label TURA milano italia.

Height 130 cm, depth 40 cm, width 85 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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52. Giotto Stoppino (Italy, 1926–2011) attributed to, a swivel chair, Italy, 1960–70s.

Chrome plated oversized tubular steel, on wheels, seat and back upholstered in leather. Seat height 50 cm, height 78 cm.

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890

53. Ico Parisi (Italy, 1916–1996) a pair of side tables, model series “540”, Fratelli Longhi, Italy, 1960s–70s.

White lacquered and black stained wood, the front with four drawers, handles in chrome plated metal. Height 60 cm, width 55 cm, depth 50 cm.

Literature: “Domus”, no. 478, September 1969, see advertisement.

Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330

54. Mario Botta (Switzerland, 1943–) a “Shogun” floor lamp, Artemide, Italy, post 1986.

Base in lacquered metal, shade in perforated metal, marked Design Mario Botta Artemide Italy. Height 220 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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55. Roberto Lazzeroni (Italy, 1950–) a pair of “Hudson” easy chairs, Ipe Cavalli, Italy, post 1996.

Fully upholstered in a green crushed velvet textile. Height 72 cm, seat height 37 cm, depth 100 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

56. Mario Torregiani (Italy, 1911–1985) a monumental “Leda” light sculpture/wall lamp, Italy, 1980s-90s.

Shades in white lacquered sheet metal, 10 sockets on a metal track.

Length ca 190 cm, height ca 100 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

57. Enzo Mari (Italy, 1932–2020) a “Sigmund” daybed, Arte & Cuoio, Italy.

Upholstery with brown braided leather straps, neck pillow, base of blackened steel, manufacturer's label. Length 182 cm, width 61 cm, height 46 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 2 210

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58. Patricia Urquiola (Spain, 1961–) a “Tufty-Time” sofa, B&B Italia, Italy, post 2005.

Three modules, steel and foam frame, upholstered in grey textile, labelled B&B Italia. Height 60 cm. One corner section 150 x 110 cm, one section 110 x 100 cm, one section with armrest 150 x 140 cm. Total length 250 x 250 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

59. Richy Almond (Great Britain, 1986–) a “Slate Binate Coffee Table”, Novocastrian, England, post 2015.

Black oxidised steel, polished Cumbrian slate top, details in polished brass, marked Novocastrian Slate Binate 006 D4. Height 36 cm, length 121 cm, width 82 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

60. Richy Almond (Great Britain, 1986–) a “Slate Cross Binate Side Table”, Novocastrian, England, post 2015.

Blackened steel, top in honed Cumbrian slate, polished brass trim.

Height 57 cm, length 71 cm, width 26 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

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61. Lindsey Adelman (USA, 1968–) an “Agnes Chandelier 40” ceiling lamp, Roll and Hill, USA, post 2010.

Frame in brushed brass, swivel joints, 40 light points with cylindrical shades in white cased glass. Height ca 235 cm + pendulum 90 cm, width ca 180 cm.

Estimate: SEK 150 000 – 200 000 / EUR 13 270 – 17 690

62. Tom Dixon (Great Britain, 1959–) a “Pylon Dining Table”, Tom Dixon Studio, London, post 2014.

Base in copper-plated steel, top in smoked glass. Length 200 cm, width 100 cm, height 75.5 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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63. Nipa Doshi & Jonathan Levien (Great Britain) a “My Beautiful Backside” sofa, Moroso, Italy, post 2008.

Dressed in anthracite grey and blue textiles. Loose armrests and cushions in silver, shimmering blue, and black-and-white. Walnut legs with brass finishes, the back featuring silver decorations and symbolic buttons, maker's mark. Length ca 300 cm, depth 78 cm, height 96 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

64. Nipa Doshi & Jonathan Levien (Great Britain) a “My Beautiful Backside” sofa, Moroso, Italy, post 2008.

Dressed in anthracite grey and blue textiles. Loose armrests and cushions in silver, shimmering blue, and black-and-white. Walnut legs with brass finishes, the back featuring silver decorations and symbolic buttons, maker's mark. Length ca 300 cm, depth 78 cm, height 96 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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31. Borek Sipek, an ‘Ota Otanek’ chair, Vitra. 72. Adrian Bursell & Siri Svedborg, a ‘Burn and Turn’ table, their own studio, Stockholm, 2024.

376. Saint Clair Cemin, Untitled. 88. Louise Liljencrantz, a specially commissioned sofa, Sjölinders Snickeri, 2020.

285. Ola Billgren, ‘Liggande kvinna’. 192. Christer Strömholm, ‘Paris, 1962’.

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65. Gio Ponti (Italy, 1891–1979) a chandelier, Venini, Italy, 2014.

Gold plated metal base, 12 multi coloured glass arms with lamp sockets, the green central bowl signed Gio Ponti per Venini 2014/12. Height ca 83 cm excluding the chain, diameter ca 88 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

66. Gio Ponti (Italy, 1891–1979) a chandelier, Venini, Italy, 2014.

Gold plated metal base, 12 multi coloured glass arms with lamp sockets, the green central bowl signed Gio Ponti per Venini 2014/12. Height ca 83 cm excluding the chain, diameter ca 88 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

66A. Michael & Lucy Vaughan, a pair of, “Positano” Table Lamps, Vaughan, United Kingdom, 2015.

Alabaster and brass, shade in white linen textile, maker’s mark Vaughan -15, height including shade 61 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 360 – 1 810

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67. Niklas Runesson (Sweden, 1985–) a coffee table, his own studio, Stockholm, 2022.

Organic sculptured pine, black linseed oil lacquer. Length 86 cm, width 75 cm, height 38 cm.

Provenance: Acquired directly from the designer.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)

68. Jenny Nordberg (Sweden, 1978–) a unique “3 to 5 Seconds – Rapid handmade production” mirror, no 27, Studio Jenny Nordberg, 2016.

Silvered glass, signed, numbered and dated Jenny Nordberg #027 2016. Height 63 cm, width 44 cm.

Provenance: Etage Projects, Copenhagen, Denmark.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070 (d)

69. Jenny Nordberg (Sweden, 1978–) a unique “3 to 5 Seconds – Rapid handmade production” mirror, no 26, Studio Jenny Nordberg, 2016.

Silvered glass, signed, numbered and dated Jenny Nordberg #026 2016. Height 63 cm, width 44 cm.

Provenance: Etage Projects, Copenhagen, Denmark.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070 (d)

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70. Jenny Nordberg (Sweden, 1978–) a unique “3 to 5 Seconds – Rapid handmade production” mirror, no 28, Studio Jenny Nordberg, 2016.

Silvered glass, signed, numbered and dated Jenny Nordberg #028 2016.

Height 63 cm, width 44 cm.

Provenance: Etage Projects, Copenhagen, Denmark.

Literature: While working with the project “ 3 to 5 Seconds – Rapid handmade production” in 2014 Jenny Nordberg researched ancient mirror making. The process and outcome was captivating and Nordberg has since then worked with this old method of making mirror(…).

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070 (d)

71. Jenny Nordberg (Sweden, 1978–) a unique “3 to 5 Seconds – Rapid handmade production” mirror, no 24, Studio Jenny Nordberg, 2016.

Silvered glass, signed, numbered and dated Jenny Nordberg #024 2016. Height 63 cm, width 44 cm.

Provenance: Etage Projects, Copenhagen, Denmark.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070 (d)

72. Adrian Bursell & Siri Svedborg (Sweden) a “Burn and Turn” table, their own studio, Stockholm, 2024.

Stem and top in ash treated with black linseed oil stain, base in blown clear glass. Height 42 cm, top diameter 36 cm.

Provenance: Greenhouse, Stockholm Furniture Fair, 2024.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330 (d)

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73. Frida Fjellman (Sweden, 1971–) a ceiling lamp, her own studio, Sweden, ca 2019.

Blown clear glass, ceiling mount and chains in brass. Glass height ca 40 cm, total height ca 140 cm.

Provenance: Acquired directly from the designer.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

(d)

74. Anders Jakobsen (Radicalsloyd) (Sweden, 1972–) “Sodastreamer”, his own studio, 2013.

Wooden base, carbonation machine, handle in painted wood, bicycle tube. Height ca. 56 cm.

Provenance: Örnsbergsauktionen, Stockholm, 2014.

Estimate: SEK 4 000 – 5 000 / EUR 360 – 450 (d)

75. Hanna Hansdotter (Sweden, 1984–) an early vase, Konstfack, Stockholm, 2017.

Mould-blown glass with a silvered interior, signed and dated Hanna Hansdotter 2017. Height ca 20 cm.

Exhibitions: Degree show, Konstfack, Stockholm 2017. Acquired directly from the artist.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330 (d)

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76. Hanna Hansdotter (Sweden, 1984–) an early “Quilted Print” vase, Konstfack, Stockholm, ca 2016–2017.

Mould-blown glass in pink and apricot, signed by Hanna Hansdotter.

Height ca 25 cm.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070 (d)

77. Åsa Jungnelius (Sweden, 1975–) a unique “Queen Helmet” glass sculpture, Kosta Boda, Sweden, 2022.

Pink marbled glass, signed Musikhjälpen 2023 Åsa Jungnelius. Length 27 cm, width ca 20 cm, height 17 cm.

Provenance: Kosta Art Gallery, “Venus Skugga”, 2022.

Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330 (d)

78. Åsa Jungnelius (Sweden, 1975–) a unique “Sculpture Pink” glass sculpture, Kosta Boda, Sweden, 2009.

Mould-blown pink underlay with darker shade overlays, signed 739915 Kosta Boda Unique Åsa Jungnelius. Length 40 cm, width 31 cm, height 22 cm.

Exhibitions: Vida Konsthall, Öland, “In my imagination”, 2009.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070 (d)

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79. Gustaf Westman (Sweden, 1993–) a large “Curvy Mirror”, his own studio, specially commissioned in 2020.

MDF lacquered in pink. Height 180 cm, width 105 cm, depth 7 cm.

Wall bracket included.

Provenance: Commissioned directly from the designer in 2020.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

80. Stamuli (Sweden) & Alessandro Bruzzone, a pair of stools, Greenhouse Bar for Stockholm Furniture Fair 2024.

Frame in bent steel, seat in recycled plastic, stamp-signed Stamuli and signed and dated Bruzzone Green House Bar 2024. Length 35 cm, width 35 cm, height 67.5 cm.

Exhibitions: Greenhouse Bar by Stamuli, Stockholm Furniture Fair 2024.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

81. Stamuli (Sweden) & Alessandro Bruzzone, a pair of stools, Greenhouse Bar for Stockholm Furniture Fair 2024.

Frame in bent steel, seat in recycled plastic, stamp-signed Stamuli and signed and dated Bruzzone Green House Bar 2024. Length 35 cm width 35 cm, height 67.5 cm.

Exhibitions: Greenhouse Bar by Stamuli, Stockholm Furniture Fair 2024.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

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82. Per B. Sundberg (Sweden, 1964–) a “Fabula” glass vase, Orrefors, Sweden, 2001.

Clear glass, partially iridescent surface, internal polychrome graphic decoration with deer, foxes, and rabbits among blooming greenery, signed Orrefors 939387 Per B Sundberg Unique 2001 and personally by Per B Sundberg. Height 21.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)

83. Fredrik Nielsen (Sweden, 1977–) a green tinted glass vase/sculpture, his own studio, Sweden, 2024.

Signed Fredrik Nielsen 24 along with a telephone number, reportedly executed in an edition of eight pieces. Height 35 cm.

Provenance: Restaurant Persona, Stockholm.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070 (d)

84. Eva Bengtsson (Sweden, 1955–) a stoneware vase, her own studio, Frillesås, Sweden.

Cylindrical vase with glaze in colours and painted text, signed EVA BENGTSSON. Height 39.5 cm.

Provenance: A win in the Handelsbanken Art Lottery.

Exhibitions: Konsthallen, Hishult, “Eva Bengtsson, Krukan som kropp på Catwalken”, June-August 2021, compare similar objects exhibited.

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890 (d)

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103. Mats Theselius, a “Järn/Moccafåtöljen” armchair, ed. 218/360, Källemo, Värnamo, post 1994.

87. Per Söderberg, a “NEB Round Dining Table”, limited edition for Artilleriet, No Early Birds, Stockholm, 2022.

300. Lena Cronqvist, “Skvallerbytta III”. 319. Dick Bengtsson, “Vinter i Bandhagen”.

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85. Rolf Lindståhl (Sweden, 1946–) a sterling silver vase, Stockholm 2008.

Signed Lindståhl. Height 29.5 cm, length 13.7 cm, weight 1454 g.

Estimate: SEK 15 000 – 18 000 / EUR 1 330 – 1 600 (d)

86. Rolf Lindståhl (Sweden, 1946–) a sterling silver bowl, Stockholm 2005.

Hexagon-shaped, signed Lindståhl. Height 9.5 cm, length 29 cm, weight 942 g.

Estimate: SEK 15 000 – 18 000 / EUR 1 330 – 1 600 (d)

87. Per Söderberg (Sweden, 1968–) a “NEB Round Dining Table”, limited edition for Artilleriet, No Early Birds, Stockholm, 2022.

Legs in blue lacquered metal, top in Grigio Carnico marble with steel fittings.

Height 73 cm, diameter 120 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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87A. Attila Suta, a unique sideboard, his own workshop, Stockholm 2020.

Veneered in “birds eye” burly birch, height 87 cm, depth 45 cm, length 180 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 810 – 2 270

87B. Gianfranco Frattini, a pair of “Bull Chair” easy chairs, Cassina, Italy post 1987.

Fully upholstered in black leather, tapered legs in black lacquered wood, seat height 40 cm, height 82 cm, width 105 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 720

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88. Louise Liljencrantz (Sweden, 1978–) a specially commissioned sofa, Sjölinders Snickeri, 2020.

Oak, black nubuck leather upholstery. Length 280 cm, depth 51 cm, height 86 cm.

Provenance: Specially commissioned for an interior in Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

89. Louise Liljencrantz (Sweden, 1978–) a pair of specially commissioned chests of drawers, Sjölinders Snickeri, Skogås, 2020.

Base in oak, drawers in lacquered MDF, legs in black lacquered metal. Height 50 cm, depth 38 cm, width 80 cm.

Provenance: Specially commissioned for an interior in Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

90. Hans Ahnlund (Sweden, 1946–) a unique “Rombikosidodekaeder” sculpture, his own studio, Gnesta, 2005.

Of Archimedean form, sculpted in laburnum (the squares), padauk (the triangles), and sea-soaked birch (the pentagons), signed HA 05. Height ca. 20,5 cm.

Provenance: Konsthantverkarna, Stockholm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)

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91. Lars Stensö (Sweden, 1948–) a “Singer” desk, “Woodstockholm”, Sweden, ca 2015.

Table top and legs made of ammonia smoked oak, three yellow painted drawers made of maple. Length 152 cm, depth 70 cm, height 72.5 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

92. Matti Klenell (Sweden, 1972–) an “Ajeto Urn” glass urn/sculpture, Ajeto, Czech Republic, 2008.

Bottle green, clear and light green opaque glass mass, two-part, the upper part with internal decoration of a flower in green and white. Signed underneath

by Matti Klenell “Ajeto Urn” 2008. Height 39 cm, diameter approximately 9 cm.

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890 (d)

93. Anders Olsson (Sweden, 1949–) a “Konig” sideboard, Galleri Sebastian Schildt, Stockholm, ca 2014.

Cone shaped legs in brushed copper, black Nero Assoluto granite top.

Height to the stone top ca 88 cm, 160 x 40 cm.

Provenance: Galleri Sebastian Schildt, Stockholm, 2014.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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94. Ingegerd Råman (Sweden, 1943–) a “Caracalla” glass vase, Orrefors, Sweden, 2005.

Cylindrical, black glass mass, blasted with a striped pattern in white. Signed Orrefors Limited 2005 9060–88 Ingegerd Råman 11.200 CL. Height 47.5 cm, diameter 20 cm.

Estimate: SEK 6 000 – 8 000 / EUR 530 – 710 (d)

95. Attila Suta (Sweden, 1976–) a pair of chests of drawers, his own workshop, Stockholm, 2023.

The front with relief, walnut and black stained ash, drawers in ash, marked Attila Suta Kunglig Hovleverantör. Height 80 cm, width 100 cm, depth 40 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

96. Ann Wåhlström (Sweden, 1957–) a unique “Nest VII” glass vase, Tacoma Glass Studio, Seattle, USA, 2015.

Cylindrical with patterned decoration in white, brown, and black, signed Nest VII 2015 M0G Ann Wåhlström. Height 31 cm, diameter 39 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)

97. Attila Suta (Sweden, 1976–) a pair of side tables, his own workshop, Stockholm, 2023.

The front with relief, walnut and black stained ash, drawers in ash, marked Attila Suta Kunglig Hovleverantör. Height 75 cm, width 45 cm, depth 45 cm.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

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98. Hilma af Klint (Sweden, 1862–1944) a carpet, ''Group IV, no 4.

The Ten Largest youth'', handmade, 1/10, c 315 x 234 cm.

Produced by Asplund in collaboration with the Hilma af Klint Foundation and CFHILL. Made in India around 2019.

Provenance: CF Hill, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

98A. Hilma af Klint (Sweden, 1862–1944) ‘Group III, no 5, The Large Figure Paintings’, 2/30, 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 30 000 – 40 000 / EUR 2 720–3 630

99. Jonas Bohlin (Sweden, 1953–) a “Sto” chair, ed. 34/70, Jonas Bohlin Design AB, Stockholm, post 1990.

Iron and oak, signed and numbered STO 34/70 JONAS BOHLIN 1990. Depth 52.5 cm, width 31.5 cm, height 94.5 cm, seat height 48 cm.

Provenance: Purchased at Nordiska Galleriet in Stockholm ca 1990 by the current owner.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)

100. Jonas Bohlin (Sweden, 1953–) a “Sto” chair, ed. 35/70, Jonas Bohlin Design AB, Stockholm, post 1990.

Iron and oak, signed and numbered STO 35/70 JONAS BOHLIN 1990. Depth 52.5 cm, width 31.5 cm, height 94.5 cm, seat height 48 cm.

Provenance: Purchased at Nordiska Galleriet in Stockholm ca 1990 by the current owner.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)

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100. Jonas Bohlin, a “Sto” chair, ed. 34/70, Jonas Bohlin Design AB, Stockholm, post 1990.

101. Mats Theselius, a “Rörligt objekt” room divider, ed. 100, Källemo, Värnamo post 1989.

465. Andy Warhol, “Mick Jagger”.

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101. Mats Theselius (Sweden, 1956–) a “Rörligt objekt” room divider, ed. 100, Källemo, Värnamo post 1989.

Aluminium with dot decoration in relief, foldable into four sections.

Length 4 x 48 cm, height 188 cm.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

102. Mats Theselius (Sweden, 1956–) an “Älgskinnsfåtöljen” armchair, ed. HC III/X, Källemo, Värnamo, ca 1991.

Etched sheet iron, beech wood, seat upholsterd with elk leather, marked ÄLGSKINNSFÅTÖLJ MATS THESELIUS 1991 HC III/X KÄLLEMO SWEDEN. Height 78 cm, seat height ca 47 cm.

Estimate: SEK 75 000 – 100 000 / EUR 6 640 – 8 850 (d)

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103. Mats Theselius (Sweden, 1956–) a “Järn/Moccafåtöljen” armchair, ed. 218/360, 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 218/360 KÄLLEMO AB VÄRNAMO SWEDEN. Height 73.5 cm.

Literature: Dan Gordan, “Svenska stolar och deras formgivare”, Norstedts 2014, p. 304.

Estimate: SEK 50 000 – 75 000 / EUR 4 420 – 6 640 (d)

104. Mats Theselius (Sweden, 1956–) a “Järn/Moccafåtöljen” armchair, ed. 216/360, 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 216/360 KÄLLEMO AB VÄRNAMO SWEDEN. Height 73.5 cm.

Literature: Dan Gordan, “Svenska stolar och deras formgivare”, Norstedts 2014, p. 304.

Estimate: SEK 50 000 – 75 000 / EUR 4 420 – 6 640 (d)

105. Mats Theselius (Sweden, 1956–) a “National Geographic 25th Anniversary Edition” cabinet, ed. 217/220, Källemo, Värnamo, post 2015.

Covered in linen fabric with a printed foliage motif, base in brass with two drawers, manufacturer's label with numbering National Geographic Mats Theselius 25 year anniversary edition Källemo Sweden no. 217/220. Width 58 cm, depth 29 cm, height 171 cm.

Estimate: SEK 60 000 – 70 000 / EUR 5 310 – 6 190 (d)

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106. Mats Theselius, an “Hommage à Sigurd Lewerentz” armchair, ed. 1/6/123 EA, Källemo, Värnamo, post 2012.

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106. Mats Theselius (Sweden, 1956–) an “Hommage à Sigurd Lewerentz” armchair, ed. 1/6/123 EA, Källemo, Värnamo, post 2012.

Patinated copper, ebony and steel frame, woven textile, maker's mark HOMMAGE A SIGURD LEWERENTZ MATS THESELIUS NO 1/6/123 EA KÄLLEMO SWEDEN 2012.

Height 74 cm, seat height 40 cm.

Estimate: SEK 90 000 – 100 000 / EUR 7 960 – 8 850 (d)

107. Mats Theselius (Sweden, 1956–) a “Skepparpallen” stool, ed. 360/360, Källemo, Värnamo, post 2001.

White lacquered with engraved brass bands, marked with numbering No: 359/360 as well as personalized engravings according to the orginal customer's wishes. Height 61 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330 (d)

108. Mats Theselius (Sweden, 1956–) a “Skepparpallen” stool, ed. 359/360, Källemo, Värnamo, post 2001.

White lacquered with engraved brass bands, marked with numbering No: 359/360 as well as personalized engravings according to the orginal customer's wishes. Height 61 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330 (d)

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109. Mats Theselius (Sweden, 1956–) an “El Rey” armchair, ed. 360/360, Källemo, Värnamo, post 1999.

Solid brass, wooden seat covered with crocodile embossed Tärnsjö leather, signed and numbered el Rey by Mats Theselius 1999 No: 360/360 copies for Källemo, Sweden. Height 70.5 cm.

Estimate: SEK 75 000 – 100 000 / EUR 6 640 – 8 850 (d)

110. Mats Theselius (Sweden, 1956–) an “El Dorado” easy chair, ed. 338/360, Källemo, Värnamo, post 2002.

Birch, brass, natural-coloured leather, manufacturer's label EL DORADO by Mats Theselius 2002 No 338/360 KÄLLEMO AB SWEDEN. Height 78 cm, seat height 47 cm, width 65 cm.

Estimate: SEK 75 000 – 100 000 / EUR 6 640 – 8 850 (d)

111. Mats Theselius (Sweden, 1956–) a “Theselius Rex” easy chair, ed. 88/200, Källemo, Värnamo, post 1995.

Steel, metal plated frame, upholstered with brown leather, maker's mark THESELIUS REX Mats Theselius No 88/200 KÄLLEMO AB VÄRNAMO SWEDEN. Height ca 70 cm, seat height ca 41 cm.

Estimate: SEK 60 000 – 70 000 / EUR 5 310 – 6 190 (d)

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112. Mats Theselius (Sweden, 1956–) a “Star” armchair, ed. 271/360, Källemo, Värnamo, post 2009.

Chrome-plated legs and trims, green mother-of-pearl imitation, green leather, labeled with metal tag and numbered STAR Mats Theselius 2009 KÄLLEMO AB 271/360. Height 81 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660 (d)

113. Mats Theselius (Sweden, 1956–) a “Star” armchair, ed. 212/360, Källemo, Värnamo, post 2009.

Chrome-plated legs and trims, black mother-of-pearl imitation, black leather, labeled with metal tag and numbered STAR Mats Theselius 2009 KÄLLEMO AB 212/360. Height 81 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660 (d)

114. Mats Theselius (Sweden, 1956–) a pair of “Star” armchairs, ed. 147 & 175/360, Källemo, Värnamo, post 2009.

Chrome-plated legs and trims, white mother-of-pearl imitation, white leather, labeled with metal tags and numbered STAR Mats Theselius 2009 KÄLLEMO AB 147/360 and 175/360 respectively. Height 81 cm.

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850 (d)

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115. Sigurdur Gustafsson (Iceland, 1962–) a “Copy and Paste” chair, ed. 97/99, Källemo, Värnamo, post 2007.

Oak, red, black, white and natural with poly carbonate plates, marked with label Sigurdur Gustafsson 2007 Copy and Paste no 97/99 Källemo AB Sweden. Height 85 cm, seat height 45 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)

116. Sigurdur Gustafsson (Iceland, 1962–) a “Copy and Paste” chair, ed. 98/99, Källemo, Värnamo, post 2007.

Oak, red, black, white and natural with poly carbonate plates, marked with label Sigurdur Gustafsson 2007 Copy and Paste no 98/99 Källemo AB Sweden. Height 85 cm, seat height 45 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770 (d)

117. Ernst Billgren (Sweden, 1957–) a “Winter Coffie Large” glass sculpture, ed. 3/6, Berengo Studio, Murano, Italy, 1999.

White glass with applied black decoration, signed and numbered ERNST BILLGREN 3/6. Height ca 57.5 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)

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118. Ernst Billgren (Sweden, 1957–) a “Von Essen” easy chair, ed.

6/7, 2007.

Frame veneered in elm, seat and back in leather and suede, maker's mark 6/7, Von Essen 2007 Ernst Billgren. Height 78 cm, seat height 48 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210 (d)

119. Arne Rickardt (Sweden, 1937–) a pair of “Pascal” armchairs, ed. 027, Dux, post 2002.

Base in plexiglass, transparent seat and back made of plastic and spiral springs, one with maker's mark DUX 027. Seat height ca 40 cm, height 80 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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122. Sebastian Herkner, a “Pipe Armchair”, Moroso, Italy, post 2015.

386. Hermann Nitsch, “Schüttbild”.

54. Mario Botta, a “Shogun” floor lamp, Artemide, Italy, post 1986.

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120. Olle Andersson (Sweden, 1939–) a pair of “Mondrian” table lamps, Belysia AB, Sweden, 1980s.

The base in geometric shapes, painted in black, blue, red, and yellow in the style of Piet Mondrian, maker's mark. Height with shade ca 63 cm.

Estimate: SEK 4 000 – 6 000 / EUR 360 – 530

121. Olle Andersson (Sweden, 1939–) a pair of “Halo Halo” floor lamps, Boréns, Sweden, 1980s.

Base in yallow lacquered metal, uplight shade in lacquered metal with a metal reflector, maker's mark Boréns. Height ca 180 cm.

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890

122. Sebastian Herkner (Germany, 1981–) a “Pipe Armchair”, Moroso, Italy, post 2015.

Base in red lacquered oversized tubular steel, seat and curved back upholstered in blue wool textile, maker's mark Moroso Made in Italy.

Seat height 40 cm, height ca 69 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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123. Eero Aarnio (Finland, 1932–) a “Ball Chair”, Adelta, Finland, post 1996.

Shell of white fibreglass, white lacquered aluminum base, polyurethane foam cushions, upholstered with red fabric, maker's mark. Height 120 cm, seat height ca 32–40 cm, width 110 cm.

Estimate: SEK 30 000 – 35 000 / EUR 2 660 – 3 100

124. Eero Aarnio (Finland, 1932–) a “Ball Chair”, Adelta, Finland, post 1996.

Shell of white fibreglass, white lacquered aluminum base, polyurethane foam cushions, upholstered with red fabric, maker's mark. Height 120 cm, seat height ca 32–40 cm, width 110 cm.

Estimate: SEK 30 000 – 35 000 / EUR 2 660 – 3 100

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125. Eero Saarinen (Finland, 1910–1961) a set of eight “Tulip” chairs, Knoll International, 1960s-70s.

Base in white lacquered cast aluminium, seats in moulded white plastic, later cushions covered in grey textile, maker's mark Knoll International. Seat height 45 cm, height 80 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

126. Verner Panton (Denmark, 1926–1998) a four-part “Pantonova” modular sofa, model “105T” & “106T”, Fritz Hansen, Denmark, post 1971.

Two straight seating modules, two curved seating modules, frame in chromed metal, loose cushions covered in red textile. Seat height 35 cm, height 65 cm, width of modules ca. 72 cm, depth ca. 70 cm.

Literature: The model illustrated in a product catalogue, 1970s.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

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127. Hans-Agne Jakobsson (Sweden, 1919–2009) an “Estrella” ceiling lamp model “T581”, Hans-Agne Jakobsson AB, Markaryd, 1960s-70s.

Polished brass, one light source, blue glass pendants, labelled HANS-AGNE JAKOBSSON AB MARKARYD T/581 MADE IN SWEDEN. Diameter 36 cm, height 32 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

128. Hans-Agne Jakobsson (Sweden, 1919–2009) a ceiling lamp, Hans-Agne Jakobsson AB, Markaryd, 1950s.

Brass, 8 shades with plastic grids, maker's mark Hans Agne Jakobsson AB Markaryd Made in Sweden. Height 60 cm, diameter 97 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

129. Hans-Agne Jakobsson (Sweden, 1919–2009) a ceiling lamp, Hans-Agne Jakobsson AB, Markaryd, 1950s.

Brass, 8 shades with plastic grids, maker's mark Hans Agne Jakobsson AB Markaryd Made in Sweden. Height 60 cm, diameter 97 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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130. Hans-Agne Jakobsson (Sweden, 1919–2009) a ceiling lamp, Hans-Agne Jakobsson AB, Markaryd, 1950s.

Brass, 8 shades with plastic grids, maker's mark Hans Agne Jakobsson AB Markaryd Made in Sweden. Height 60 cm, diameter 97 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

131. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of “Sonata” ceiling lamps, Hans-Agne Jakobsson AB, Markaryd, 1960s–70s.

Brass, ten clear glass shades each, maker's mark, Hans Agne Jakobsson AB Markaryd Made in Sweden. Height ca 250 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

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132. Bengt Ruda (Sweden, 1918–1999) a rare “Focus” easy chair, Ikea, 1950s-60s.

Nickel-plated tubular steel frame, upholstered with leather. Height 82 cm.

Literature: Catalogue, “Möbel-IKEA Älmhult: Inredningskatalog -58/Lyckokast till Önskebo -58”, Aller press 1958, model illustrated p. 17.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

133. Florence Knoll (USA, 1917–2019) sideboard, Knoll, 1970s.

Base veneered in oak, top in white Calacatta marble, legs in chromed metal, front with cabinets and drawers, height 65 cm, length 190 cm, depth 45.5 cm.

Provenance: Erik Wintzell, Marketing and Sales Director for Knoll Scandinavia.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

134. Florence Knoll (USA, 1917–2019) a pair of sideboards, Knoll, 1970s.

Bases veneered in oak, tops in white Calacatta marble, legs in chromed metal, front with cabinet. Height 65 cm, length 95 cm, depth 45.5 cm.

Provenance: Erik Wintzell, Marketing and Sales Director for Knoll Scandinavia.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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135. Ludwig Mies van der Rohe (Germany, 1886–1969) a “Barcelona” easy chair and ottoman, Knoll, 1970s.

Base in chrom plated metal, seat and back upholstered in brown leather, marked Knoll under the seat. Height 74 cm, stool height 36 cm.

Provenance: Erik Wintzell, Marketing and Sales Director for Knoll Scandinavia.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

136. Ludwig Mies van der Rohe (Germany, 1886–1969) a “Barcelona” easy chair and ottoman, Knoll, 1970s.

Base in chrom plated metal, seat and back upholstered in brown leather, marked Knoll under the seat. Height 74 cm, stool height 36 cm.

Provenance: Erik Wintzell, Marketing and Sales Director for Knoll Scandinavia.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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137. Cees Braakman (Netherlands, 1917–1995) a set of six chairs model “SM07”, Pastoe, Holland, 1960s–70s.

Base in black lacquered steel, seats recently reupholstered in black nubuck leather. Seat height 45 cm, height 78 cm.

Provenance: Reupholstered in connection with an interior designed by Louise Liljencrantz to match the sofa in the same auction, 1572405.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

138. Kurt Hvitsjö (Finland, 1921–1993) a pair of “Hannibal” easy chairs, Isku, Finland, 1970s.

Upholstered in brown leather, frame of black lacquered wood and chrome-plated tubular steel , with wheels in the front, maker's mark ITSU Made in Finland. Seat height 44 cm, height 74 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

139. Florian Schulz (Germany, 1946–2019) a “Solan” ceiling lamp, Germany, 1970s–80s.

Screen, counterweight, and ceiling mounts in brass. Diameter of the shade 48 cm.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070

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140. Poul Kjaerholm (Denmark, 1929–1980) a “PK0” easy chair, ed. 70/600, Fritz Hansen, Denmark, 1997.

Black lacquered laminated beech, manufacturer's label PK0 70 POUL KJAERHOLM Fritz Hansen 1872–1997 MADE IN DENMARK. Seat height approximately 40 cm, height 69 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660 (d)

141. Poul Kjaerholm (Denmark, 1929–1980) a “PK54A” dining table, Fritz Hansen, 2020.

Legs in brushed steel, top in Italian grey/brown marble, extension ring in solid maple, marked Fritz Hansen 2020. Height 69 cm, diameter 140 cm, diameter with extension ring 210 cm.

Estimate: SEK 100 000 – 125 000 / EUR 8 850 – 11 060

142. Poul Kjaerholm (Denmark, 1929–1980) a set of six “PK9” chairs, Fritz Hansen, 2020.

Legs in brushed steel, seat and back upholstered in black leather, marked Fritz Hansen 2020. Seat height 43 cm, height 77 cm.

Estimate: SEK 150 000 – 200 000 / EUR 13 270 – 17 690

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143. Nickolas Muray (Hungary, 1892–1965) “Frida Kahlo”, 1939.

Signed by Murray’s daughter and numbered 2/30 + 5 AP verso. Certificate from Daniello Fine Art included. Printed later. Carbon pigment print, image 36 x 28 cm. Sheet 56 x 44.5 cm.

Provenance: Daniello Fine Art, Connecticut.

Private Collection, Sweden.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

144. Bruno Ehrs (Sweden, 1953–) “Carl XVI Gustaf, Skeppsholmen, maj 2002”.

Signed Bruno Ehrs and numbered 26/50 verso. Printed 2016.

Pigment print, image 81 x 64 cm. Sheet 111 x 91 cm.

Provenance: Bukowski Auktioner, Contemporary Art & Design 615, April 2019, lot 270.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

(d)

145. Kenneth Gustavsson (Sweden, 1946–2009) “Paris”, 1968.

Signed Kenneth Gustavsson and dated -89 verso. Gelatin silver print, image 23.5 x 29.5 cm. Sheet 30 x 40 cm.

Exhibitions: Moderna Museet, Stockholm, “Åter till verkligheten”, 9 May – 20 September 2009, another example exhibited. Moderna Museet, Stockholm, ”En annan historia: Se världen!”, 16 April - 31 December 2011, another example exhibited. Moderna Museet, Stockholm, ”Ett sätt att leva. Svensk fotografi från Christer Strömholm till idag”, 1 February - 18 May 2014, another example exhibited. Konsthallen Hishult, “Kenneth Gustavsson - The Magic Bar”, 9 March - 22 April 2019, another example exhibited.

Literature: Thomas Wågström (ed.), “The Magic Bar. Kenneth Gustavsson”, 2012, illustrated on full-page p. 63. Konsthallen Hishult och Thomas Wågström, “Kenneth Gustavsson - The Magic Bar”, 2019, exhibition catalogue, illustrated full-page p. 15.

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890

(d)

146. Maria Friberg (Sweden, 1966–) “Embedded 1”, 2006.

Signed Maria Friberg verso. Edition 9/10 + 3 AP. C-print silicone mounted on glass 37 x 60 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Exhibitions: Connersmith, Washington D.C, “Maria Friberg: Embedded”, 2 January – 24 February 2007, another example exhibited.

Literature: Maria Friberg, “Maria Friberg”, 2008, illustrated.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

(d)

147. Tuija Lindström (Finland, 1950–2017) From the series “12 Fractals of One Plant”, 2004.

148. Tuija Lindström (Finland, 1950–2017) From the series “12 Fractals of One Plant”, 2004.

Signed Tuija Lindström and dated 2004 verso. Unique.

C-print silicone mounted on acrylic glass 98 x 60 cm.

Signed Tuija Lindström and dated 2004 verso. Unique.

C-print silicone mounted on acrylic glass 98 x 60 cm.

Provenance: Bukowski Auktioner, Moderna Höstauktionen 545, 2007, lot 504.

Provenance: Bukowski Auktioner, Moderna Höstauktionen 545, 2007, lot 503.

Exhibitions: Liljevalchs Konsthall, Stockholm, “Look at us, Tuija Lindström”, 5 June - 22 August 2004.

Literature: Niclas Östlind, Lollo Fogelström (ed.), “Look at us, Tuija Lindström”, 2004, exhibition catalogue, illustrated on full-page p. 83.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

(d)

Exhibitions: Liljevalchs Konsthall, Stockholm, “Look at us, Tuija Lindström”, 5 June - 22 August 2004.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

(d)

149. Mary McCartney (Great Britain, 1969–) “Covering Kate”, 2011.

Signed Mary McCartney and numbered 1/5 verso. Total edition of 5 + 2 AP. Signed certificate accompanies the work. C-print, image 45.5 x 30.5 cm.

Provenance: F. Daniello Fine Art, Connecticut.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

150. Albert Watson (Great Britain, 1942–) “David Bowie, The Finger, New York City”, 1996.

Signed Albert Watson and dated 2011, numbered 13/25, verso.

C-print, image 60.5 x 47 cm. Sheet 76 x 60 cm.

Estimate: SEK 70 000 – 90 000 / EUR 6 190 – 7 960

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151. Masao Mochizuki (Japan, 1939–) “The Last Day of Saigon”, 1975.

From the series “Television”, 1975–1976. Signed Masao Mochizuki and dated 2001.4.10 verso. Unique. Gelatin silver print, six joined prints mounted on cardboard, image 47.3 x 67 cm. Including frame 63 x 88 cm.

Literature: Masao Mochizuki, “Television 1975–1976”, 2001, illustrated.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

152. JR (France, 1983–) “28 millimètres, Portrait of a Generation, Ladj Ly”, 2004.

Signed JR and dated 06, numbered 25/100. Embossed stamp in the upper left corner. Offset 41 x 61 cm.

Provenance: Allmänna Galleriet, Stockholm.

Exhibitions: Allmänna Galleriet, Stockholm, September 2006.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

153. Ysabel LeMay (Canada) “Spiritus”, 2011.

Signed LeMay and numbered 4/7 on label verso.

Archival C-print, 92 cm x 183 cm.

Provenance: Couture Galleri, Stockholm.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

154. Steve Schapiro (USA, 1934–) “Nico and Velvet Underground”, 1966.

Signed Steve Shapiro and numbered 13/25 verso.

Also with copyright stamp verso. Gelatin silver print, image 32 x 47 cm.

Estimate: SEK 18 000 – 20 000 / EUR 1 600 – 1 770

(d)

155. Natalia Mikkola (Finland, 1974–) “Malibu Sunset”, 2019.

Signed Natalia Mikkola on accompanying certificate. Edition 2/5.

C-print mounted on diasec and acrylic glass, 110 x 165 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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156. Michel Comte (Switzerland, 1954–) “Helena Christensen II”, 1993.

Signed label accompanies the work. Edition 12/20. Gelatin silver print, image 50 x 49.5 cm. Sheet 67.5 x 67.5 cm.

Provenance: F. Daniello Fine Art, Connecticut.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

157. Terry O'Neill (Great Britain, 1938–2019) “Faye Dunaway, Hollywood, 1977”.

Signed Terry O'Neill and numbered 10/50. Total edition of 50 + 10 AP. Gelatin silver print, image 46 x 46 cm.

Provenance: F. Daniello Fine Art, Connecticut.

Literature: Terry O'Neill, 'Terry O'Neill: The A-Z of Fame', 2013, compare image p. 104–105.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

158. Kalle Gustafsson (Sweden, 1975–) “Stallion”, 2016.

Signed Kalle Gustafsson and numbered 1/15. Pigment print, image 98 x 89.5 cm. Including frame 111 x 103 cm.

Provenance: Directly from the photographer to the present owner.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

(d)

159. Brooks Kraft (USA, 1964–) “Obama in Rain”, 2012.

Signed by Brooks Kraft on accompanying certificate. Edition 1/1, special edition for Eye for All. Pigment print mounted on dibond, 67 x 100 cm.

Including frame 85.5 x 107.5 cm.

Provenance: Eye for All, Photo Auction for War Child, Amsterdam, 2018. Acquired by the present owner.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

160. Patrik Andersson (Sweden, 1964–) “Mick Jagger”, 1992.

Signed Patrik Andersson and numbered 3/10 verso. Archival pigment print, image 80 x 80 cm. Including frame 115 x 93 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

(d)

161. Jack Pierson (USA, 1960–) “Stock Variation”, 1999.

Signed Jack Pierson and numbered 3/10 verso.

C-print 76 x 76 cm including frame in acrylic glass.

Provenance: Galleri Roger Björkholmen, Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

162. Bruce Weber (USA, 1946–) ”NYC Studio (from The Indomitable Spirit Portfolio)”, 1986-1989. .

Signed Bruce Weber and numbered 4/5 verso. Printed by Photographers + Friends United Against AIDS, New York.

Gelatin silver print, 59 x 46 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

163. Adam Fuss (Great Britain, 1961–) From the series “My Ghost”, 1999.

Unique. Gelatin silver print photogram 42 x 43 cm.

Provenance: Cheim & Read, New York. Galleri Charlotte Lund, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

(d)

164. David LaChapelle (USA, 1963–) “Death by Hamburger”, 2001.

Signed David LaChapelle on label verso. Edition 4/10. Digital C-print 39.5 x 59.5 cm.

Provenance: F. Daniello Fine Art, Connecticut.

Literature: Patrik Steorn (ed.), “David LaChapelle - Burning Beauty”, 2012, llustrated on spread p. 180–181.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

165. Ron Galella (USA, 1931–) “Grace Jones at Bond's, New York”, 1980.

Signed Ron Galella and numbered 1/20 verso. Gelatin silver print, image 35 x 27 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

166. Terry O'Neill (Great Britain, 1938–2019) “Steve McQueen Eyes”, 1969.

Signed Terry O'Neill and numbered 4/50. C-print, image 51 x 72 cm.

Provenance: F. Daniello Fine Art, Connecticut.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

Richard Prince In the late 1960s, the availability of images in advertising and mass media increased. Artists such as Richard Pettibone and Andy Warhol brought these motifs into art and questioned the concepts of originality and copyright. Several conceptual artists extended this questioning within their respective media.

In the early 1980s, artists such as Cindy Sherman, Barbara Kruger and Richard Prince had their breakthroughs using a similar approach. While Cindy Sherman scrutinized the objectifying image of young women, Richard Prince focused on the myths and aesthetics of popular culture. He was particularly interested in one of its main commercial representatives: The Marlboro Man. His artistic method was simple: he borrowed the cigarette brand’s iconic advertising symbol: the free and manly cowboy. In doing so, he captured not only the cigarette brand’s phenomenal invention, the Man with a capital M, but also a whole set of romantic yet cynical notions such as a longing for the return to nature and a traditional gender order. His image ’Untitled (Cowboy)’, a rephotograph of Sam Abell’s image for Marlboro, became the first work in this genre to sell for more than USD 1 million at auction in New York in 2005.

Richard Prince’s exploration of masculinity and the possibilities of appropriation in art continued a decade later when he took on a very different kind of myth and aesthetic: motorcycle gangs. His ’Girlfriends’ series went down like a bomb in art circles. This time, the images were originally amateur shots of gang members’ girlfriends published in motorcycle magazines like Easy-riders and Iron Horse. Prince selected the pictures himself, took photographs of them and in some cases cropped them. In the magazines, the images are just one of many amateur photos, usually poorly lit and out of focus, but when Prince moves the subject to an artistic context, the anonymous portraits suddenly take on a whole new meaning as independent works of art. The auction’s photograph combines Richard Prince’s two best-known photographic series with his third genre, paintings of printed jokes. Begun in 1986, ’The Joke Series’ has also become a signature work for Prince, combining painting with burlesque humor. The jokes often deal with taboos and frustrations of the white American middle class, highlighting sexism, racism and class issues.

167. Richard Prince (USA, 1949–) “Joke, Girlfriend, Cowboy”, 2001.

Signed Richard Prince and numbered R verso.

Edition 18/26. Ektacolor print 76 x 101 cm.

Provenance: F. Daniello Fine Art, Connecticut.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

168. Cindy Sherman (USA, 1954–) “Untitled (In Honor of Mark Morrisroe)”, 1980.

Signed Cindy Sherman and dated 1980/2000, numbered 68/75, verso. C-print, image 27 x 38 cm.

Estimate: SEK 100 000 – 125 000 / EUR 8 850 – 11 060

169. Vik Muniz (Brazil, 1961–) “Summer, from the series Pictures of Wire”, 1996.

Signed Vik Muniz and dated 1997, numbered 3/5, verso.

Gelatin silver print 36.5 x 36 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

(d)

170. Lee Friedlander (USA, 1934–) “Nude (Madonna)”, 1979.

Signed Lee Friedlander verso. Marked “LF 8221.Y” verso.

Gelatin silver print, image 33 x 22 cm. Sheet 35.3 x 28 cm.

Provenance: F. Daniello Fine Art, Connecticut

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

171. Nathalia Edenmont (Sweden, 1970–) “Big Bang”, 2022.

Signed N. Edenmont verso. Edition 2/6. C-print silicone-mounted on glass 140 x 164 cm.

This work is sold to support the international disaster relief efforts of the Red Cross.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

(d)

172. Blaise Reutersward (Sweden, 1961–) “ETRETAT 2”, 2002.

Signed Blaise R and numbered 1/5 verso. Total edition of 5 + 2 AP. Analogue C-print diasec-mounted and framed, 141 x 170 cm including frame.

Provenance: Bukowski Auktioner, Contemporary Art & Design 642, October 2022, lot 243.

Exhibitions: Galleri Mårtenson & Persson, Båstad, “Time Shifting”, 2002, another example exhibited.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

(d)

173. Anders Krisár (Sweden, 1973–) “Janus (3)”, 2006.

Signed Krisár and numbered 1/3 verso. C-print, mounted to aluminum and framed 145 x 184 cm including frame.

Literature: Anders Krisar, “Anders Krisar”, 2011, illustrated on full-page p. 151.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

(d)

174. Fredrik Wretman (Sweden, 1953–) “MoMA”, 1991.

From the series “American Floors”. Signed Fredrik Wretman verso. Cibachrome mounted on glass, 98.5 x 98.5 cm.

Provenance: Galleri Blå, Linköping. Galleri Thomas Wallner, Malmö.

Bukowski Auktioner, Höstens Contemporary 570, 2012, lot 189. Bukowski Auktioner, BLÅ – Ett livsbo H065, October 2022, lot 12.

Literature: Jan Åman, “American Floors”, 1991, compare image on p. 31.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

(d)

175. David Molander (Sweden, 1983–) “Stairway”, 2014.

Signed David Molander and numbered 5/6 verso.

C-print mounted on diasec and acrylic glass 62 x 60 cm.

Provenance: Cecilia Hillström Gallery, Stockholm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

(d)

176. Michael Thompson (USA, 1962–) “Nude with Necklaces (Keira Knightley), London, 2007”.

Signed Michael Thompson and dated 2011, numbered 2/7, verso.

Digital C-print, image 35 x 25 cm.

Provenance: F. Daniello Fine Art, Connecticut.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210)

177. Terry O’Neill (Great Britain, 1938–2019) “Brigitte Bardot, Spain, 1971”.

Signed Terry O’Neill and numbered AP. Total edition of 50 + 10 AP. Gelatin silver print, image 119 x 90 cm.

Provenance: Guy Hepner, New York. Private Collection, Sweden.

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 300 000 – 350 000 / EUR 26 530 – 30 950

(d)

178. Terry O'Neill (Great Britain, 1938–2019) “Amy Winehouse, London, 2008”.

Signed Terry O’Neill and numbered 11/50. Total edition 50 + 10 AP. Gelatin silver print, image 48 x 39.5 cm. Sheet 50.5 x 41 cm.

Provenance: Alona Kagan Gallery, New York.

Literature: Terry O’Neill, “Terry O’Neill: The A-Z of Fame”, 2013, illustrated on full-page p. 344.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

179. Torbjörn Calvero (Sweden, 1949–2016) “Robert Plant, Jimmy Page/Led Zeppelin, Earl's Court London, 23/5 1975”.

Signed Torbjörn Calvero and numbered 1/10. C-print, image 63 x 89 cm.

Literature: Torbjörn Calvero and Christer Olsson, “Från Abba till Zeppelin.

Calveros 70-tal”, illustrated on the cover.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

(d)

180. David LaChapelle (USA, 1963–) “Negative Currency: One Dollar Bill Used as Negative” New York 1990–2008.

Signed David LaChapelle and numbered 4/5 on label verso. C-print, image 75.3 x 175 cm. Including frame 82.5 x 183 cm.

Provenance: Wolfgang Roth & Partners Fine Art, Miami.

Literature: Patrik Steorn, “David LaChapelle - Burning Beauty”, 2012, illustrated p. 186.

Estimate: SEK 125 000 – 150 000 / EUR 11 060 – 13 270

(d)

181. Anton Corbijn (Netherlands, 1955–) “Bjork, Reykjavik, 1999”.

Signed Anton Corbijn on label verso. Edition 2/8.

C-print, perspex, dibond 190 x 125 cm.

Provenance: Torch Gallery, Amsterdam. Bukowski Auktioner, Contemporary Spring Sale 573, 2013, lot 293.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

(d)

182. Mats Bäcker (Sweden, 1958–) “Keith Richards, Ullevi, Gothenburg, 82”.

Signed Mats Bäcker and dated 10, numbered 4/5, verso.

Selenium-toned gelatin silver print, image 100 x 148 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

(d)

182A. 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 plexi glass 75 x 100 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Literature: Helena Blomqvist, “Helena Blomqvist”, 2012, illustrated full-page.

Estimate: SEK 60 000–80 000 / EUR 5 440– 7 250

(d)

183. Christer Strömholm (Sweden, 1918–2002) “Man Ray”, 1950s.

Signed CHR Strömholm. Also signed CHR Strömholm and dated 1979 verso.

Gelatin silver print, image 29.8 x 20 cm. Sheet 30.2 x 23.7 cm.

Literature: Christer Strömholm and Anders Jonason, “Konsten att vara där”, 1992, illustrated p. 113. Joakim Strömholm (ed.), “Christer Strömholm 1918–2002, On verra bien”, 2002, illustrated p. 70.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

(d)

184. Christer Strömholm (Sweden, 1918–2002) “Marcel Duchamp”, 1962.

Signed CHR Strömholm. Also signed by CHR Strömholm and by the copyist Håkan Elofsson verso. Gelatin silver print, image 28.7 x 23.3 cm. Sheet 40.2 x 27 cm.

Literature: Christer Strömholm, “Privata bilder”, Exhibition catalogue Camera Obscura, 1978, illustrated p. 20. Anders Jonason and Christer Strömholm, “Christer Strömholm, Konsten att vara där”, 1991, illustrated p. 115. Lourdes Peracaula, “Christer Strömholm”, 2001, illustrated full-page p. 109. Strömholm and Strömholm, “Christer Strömholm 1918-2002, On verra bien”, 2002, illustrated p. 71. Joakim Strömholm (ed.), “Post Scriptum Christer Strömholm”, 2012, illustrated p. 165.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

(d)

185. Dawid (Björn Dawidsson) (Sweden, 1949–) “FSCC #39”, 2006.

Signed and dated 2006 verso. Edition 1/5. Pigment print on 100% Cotton Rag paper, image 70 x 50 cm. Including the artist's frame 92 x 71 cm.

Literature: Dawid e.a, “Dawid: FSCC”, 2008, illustrated.

Estimate: SEK 18 000 – 20 000 / EUR 1 600 – 1 770

(d)

186. Gunnar Smoliansky (Sweden, 1933–2019) “Slussen”, 1952.

Signed Gunnar Smoliansky and numbered 5/5. Pigment print, image 89 x 90 cm.

Provenance: Directly from the photographer to the present owner.

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

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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187. Gunnar Smoliansky (Sweden, 1933–2019) “Slussen”, 1952.

Signed Gunnar Smoliansky verso. Gelatin silver print, image 11.5 x 12 cm.

Provenance: Directly from the photographer to the present owner.

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

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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188. Hans Gedda (Sweden, 1942–) “Den vite Clownen”, 1978.

Signed Hans Gedda. Edition AP. Total edition 10 + AP. Printed in 2023.

Gelatin silver print, image 70 x 69.5 cm. Including frame 95.5 x 93.5 cm.

Literature: Hans Gedda and Bodil Malmsten, 'Cirkus Circus Cirque', 1995, compare image p. 24.

Magnus Olausson e.a, “Hans Gedda; Det tredje ögat”, 2013, illustrated on spread p. 132–133.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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189. Anders Petersen (Sweden, 1944–) “Café Lehmitz, Hamburg, 1977”.

Signed Anders Petersen and dated 99 verso. Gelatin silver print, image 22.5 x 33.2 cm. Sheet 30 x 39.7 cm.

Literature: Anders Petersen, “Café Lehmitz”, 2004, illustrated on full-page p. 16. Urs Stahel, Hasse Persson, Patric Leo and Anders Petersen, “Anders Petersen”, 2013, illustrated on spread.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

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190. Anders Petersen (Sweden, 1944–) “Kleinchen med man, Café Lehmitz, Hamburg, April 1970”.

Signed Anders Petersen and dated '97 verso. Gelatin silver print, image 31.5 x 22.5 cm. Sheet 40 x 30.2 cm.

Literature: Urs Stahel, Hasse Persson, Patric Leo and Anders Petersen, “Anders Petersen”, 2013, illustrated on full-page.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

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191. Lars Tunbjörk (Sweden, 1956–2015) “Borås”, 1994.

Signed Lars Tunbjörk and numbered 4/20 verso.

C-print, image 43.5 x 35 cm. Including frame 62 x 54 cm.

Provenance: Brändström & Stene, Stockholm.

Literature: Maud Nycander, Göran Odbratt, Kathy Ryan, “Lars Tunbjörk - retrospektiv”, 2018, illustrated spread p. 227.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

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192. Christer Strömholm (Sweden, 1918–2002) “Paris, 1962”.

Signed CHR verso. Also stamped “Weser-Kurier 12 June 1991” verso.

Gelatin silver print, image 27 x 21.8 cm. Sheet, 30 x 23.9 cm.

Provenance: Lichtbildgalerie, Worpswede. Bukowski Auktioner, Höstens Contemporary 2015, lot 204.

Literature: Lars Hall and Gunilla Knape (ed.), “Imprints by Christer Strömholm - CHR. The Hasselblad Award 1997”, 1998, illustrated on p. 27. Joakim Strömholm and Jakob Strömholm, “Christer Strömholm 1918-2002, On verra bien”, 2002, illustrated on p. 35. Moderna Museet “En annan historia”, 2011, illustrated pl. 96. Joakim Strömholm (ed.), “Post Scriptum Christer Strömholm”, 2012, illustrated on p. 99.

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850

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193. Jan Svenungsson (Sweden, 1961–) “Tower 4”, 1991.

Signed Jan Svenungsson and dated 1991 verso. Gelatin silver print, height 258 cm including the artist's original frame.

Exhibitions: Göteborgs Konstmuseum, Gothenburg, “Nordiskt Önskemuseum”, 1994. Nylistasafnid, Reykjavik, “Jan Svenungsson & Kirsten Ortved”, 1992. Nordic Arts Center, Helsinki, “Jan Svenungsson”, 1992.

Literature: Jan Svenungsson, Jörg Heiser, “Building chimneys / Bygga skorsten”, 2008, illustrated p. 13.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

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194. Hans Hammarskiöld (Sweden, 1925–2012) “Chelsea Embankment, London”, 1955.

Signed Hans Hammarskiöld and numbered 35/100 verso. Printed in the 1980s. Gelatin silver print, image 25.5 x 38 cm. Sheet 28 x 39 cm.

Literature: Kurt Mälarstedt, “Photo Hammarskiöld - Tiden och ljuset”, 2008, illustrated on spread p. 76–77.

Estimate: SEK 10 000–12 000 / EUR 890–1 070

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195. Gunnar Smoliansky (Sweden, 1933–2019) “Urvädersgränd”, 1975.

Signed Gunnar Smoliansky and dated 2011, numbered 2/10, verso.

Gelatin silver print, image 27.8 x 27.7 cm. Sheet 40.5 x 30.5 cm.

Literature: 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 1 070 – 1 330

196. Jorma Puranen (Finland, 1951–) “Shadows, Reflections and All That Sort of Thing #68.”, 2011.

Signed Jorma Puranen and numbered 4/6 on label verso.

C-print mounted on diasec and acrylic glass 125 x 100 cm.

This work is sold in support of Mentor, a non-profit empowering youth aged 13–19 through role models, coaching, and motivation. Mentor’s programs equip young people with the skills to face challenges and reach their potential. Founded in 1994 by Her Majesty Queen Silvia of Sweden, in partnership with the World Health Organization, Mentor has worked globally for 30 years to prevent substance abuse and promote youth wellbeing.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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197. Felix Odell (Sweden, 1976–) “Dessau”, 2019.

Signed Felix Odell and dated 2019, numbered 3/3, verso. C-print mounted on aluminum, image 95 x 120 cm. Including frame 99 x 122 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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198. Maria Friberg (Sweden, 1966–) “Transmission I”, 2010.

C-print silicone-mounted on glass 260 x 139.5 cm.

Literature: Cabinet Magazine, Issue 38 Summer 2010, illustrated.

Maria Friberg e.a, “Changed Positions”, 2015, compare image p. 44–45.

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850

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199. Helena Blomqvist (Sweden, 1975–) “Woman with dog”, 2005.

From the series “The Dark Planet”. Signed Helena Blomqvist and numbered 3/5 on verso. Total edition of 5 + 2 AP. C-print mounted to acrylic glass 121 x 99.5 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Literature: Helena Blomqvist, “The Dark Planet”, 2006, illustrated.

Angelika Knäpper Gallery and Helena Blomqvist, “Helena Blomqvist”, 2012, illustrated on full-page.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

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200. No lot

201. Denise Grünstein (Finland, 1950–2023) “Skepnad”, 2015.

Signed Denise Grünstein and dated 2017, numbered 2/12 + 3 AP, verso.

C-print mounted on aluminium and framed, 46 x 57 cm including frame.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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202. Adam Fuss (Great Britain, 1961–) From the series “My Ghost”, 1999.

Unique. Gelatin silver print photogram 60 x 50 cm.

Provenance: Cheim & Read, New York. Gallery Charlotte Lund, Stockholm.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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203. Adam Fuss (Great Britain, 1961–) From the series “My Ghost”, 1999.

Unique. Gelatin silver print photogram 60 x 43 cm. Including frame 73 x 56 cm.

Provenance: Cheim & Reid, New York.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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204. Gabriel Orozco (Mexico, 1962–) “Black Kites”, 1997.

Signed Gabriel Orozco and numbered 7/175. C-print, image 28 x 19.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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Jenny Saville Jenny Saville, has been revitalizing contemporary figurative painting since the early 1990s. As part of the Young British Artists (YBA), a loose group of British painters and sculptors who came to prominence in the late 1980s and early 1990s, she has challenged the boundaries of the genre and explored questions about society’s view of the body and its potential.

Her paintings focus on the human body, drawing inspiration for her closeup studies of skin and flesh from a wide variety of sources, ranging from the early paintings of masters such as Titian and Tintoretto to reconstructive plastic surgery. Saville’s works blur the line between classical painting and modern abstraction. The works have a physicality, she applies paint in thick layers, scraping, adding and removing. Her expressions, which have some common points of contact with Francis Bacon’s deformed bodies and Chaïm Soutine’s studies of flesh from the 1920s, among others. Saville’s bodies, however, always have a sense of pride

and refuse to be hidden; each body comes forward and break with the objectifying depictions of art history.

The collaboration between the painter Saville and the fashion photographer/filmmaker Glen Luchford questions and challenges notions of female beauty. The symbiosis between the worlds of art and fashion has produced many hybrid forms in recent years, but none perhaps as striking as this series of images. Here, the artists have created a new form of self-portraiture, with Saville herself acting as the model.

205. Jenny Saville (Great Britain, 1970–) “Closed Contact”, 1996.

Signed Jenny Saville/Glenn Luchford and dated 1996, numbered 10/10 + 3 AP, verso. C-print mounted in plexi glass box 180 x 183 x 17.5 cm.

Exhibitions: Gagosian, Beverly Hills, “Closed Contact”, 12 January - 10 February 2002, another example exhibited.

Estimate: SEK 125 000 – 150 000 / EUR 11 060 – 13 270

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Vik Muniz Brazilian artist Vik Muniz creates art by recreating well-known works from art history. He uses everyday products such as peanut butter, chocolate sauce, sequins, sugar, color pigments, tomato sauce and garbage to reconstruct these works of art. His very time-consuming and detailed work is then immortalized by the camera and turned into beautiful photographs, often in monumental sizes. His images play with our perception and he himself calls them “photographic delusions”.

What the viewer first perceives as an image of an existing work of art turns out, on closer inspection, to be innovative interpretations of motifs from our common image bank.

The images in the “Aftermath” series depict children living on the streets of Brazil. Muniz has been involved with their situation for a long time and had the opportunity to work with some of them. He invited a number of children aged between 6 and 10 to explore art history to find works they could identify with. He then took black and white Polaroids of them in the same pose as the main character in the selected painting.

butts, etc.) was then placed on a light table. Using a reductive technique, including the use of a vacuum cleaner, the children’s portraits emerge after the photographic model.

Muniz’s career as an internationally renowned photographer began when some photographs from his ”Sugar Children” project were selected by MoMa to be shown in the ”New Photography” exhibition in 1997. In 2019, Muniz had a retrospective of over 100 photographs at the Chrysler Museum of Art in Atlanta. For the past 20 years, he has had several major exhibitions each year, around the world, and is represented in the most prestigious collections.

206. Vik Muniz (Brazil, 1961–) “Aftermath (Emerson) - from the project Children of Brazil”, 1998.

Edition 10 + 5 AP. C-print mounted on panel and framed, image 158 x 127 cm.

To build up the motifs in ”Aftermath”, Muniz collected carnival leftovers from the streets of Rio de Janeiro. The trash (confetti, bottle caps, cigarette

Provenance: Bukowski Auktioner, Contemporary Art & Design 631, April 2021, lot 209.

Estimate: SEK 100 000 – 150 000 / EUR 8 850 – 13 270

207. Peter Beard (USA, 1938–2020) “Peter Beard, Collectors Edition”, 2006.

Signed by Peter Beard and numbered 1334/2500 on the preface. Edited by Nejma Beard and David Fahey. Designed by Ruth Adams. Published by Taschen America Llc, 2006. In a linen-covered box with accompanying wooden stand. Box 55 x 39.5 x 10.5 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

208. Terry O'Neill (Great Britain, 1938–2019) “Faye Dunaway, Hollywood, 1977”.

Signed Terry O'Neill and numbered AP. Total edition of 50 + 10 AP. C-print, image 66 x 66 cm.

Literature: Terry O'Neill, “Terry O'Neill: The A-Z of Fame”, 2013, compare image p. 104–105.

Estimate: SEK 150 000 – 200 000 / EUR 13 270 – 17 690

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209. Gavin Bond (Great Britain, 1970–) “Gisele Lip Gloss”, 2006.

Signed label accompanies the work. Edition 12/20. Digital C-print, image 66 x 55.9 cm.

Provenance: F. Daniello Fine Art, Connecticut.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

210. Sølve Sundsbø (Norway, 1970–) “Oyster Dress”, 2010.

Signed and numbered 3/7 verso. Total edition of 7 + 3 AP. C-print, image 49.7 x 37.6 cm. Mounted in plexibox, 70.4 x 50.8 x 5.7 cm.

Provenance: GunGallery, Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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211. Sølve Sundsbø (Norway, 1970–) “Shipwreck Dress”, 2010.

Signed and numbered 1/7 verso. Total edition of 7 + 3 AP. C-print, image 49.7 x 37.6 cm. Mounted in plexibox, 70.4 x 50.8 x 5.7 cm.

Provenance: GunGallery, Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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212. Terry O'Neill (Great Britain, 1938–2019) “Martha Stewart”, 2000.

Signed Terry O'Neill and numbered 6/50. C-print, image 51 x 51 cm.

Literature: Terry O’Neill, “Terry O’Neill: The A-Z of Fame”, 2013, illustrated on full-page p. 295.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

213. Tim Flach (Great Britain, 1958–) “Shoebill”, 2018.

Signed by Tim Flach and numbered 1/10 on accompanying certificate.

Total edition of 10 + 2 AP. C-Print 70 x 54 cm.

Provenance: The PhotoGallery, Halmstad.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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214. Matthew Rolston (USA, 1955–) “Madonna as Marlene Dietrich, Los Angeles, 1986”.

Signed Matthew Rolston and numbered AP verso.

Total edition of 15 + AP. Gelatin silver print 47 x 37.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

215. 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 3 540 – 5 310

216. Max Modén (Sweden, 1974–) “Greta Thunberg and Barack Obama at the Grand Hotel”, 2019.

Signed Max Modén on label verso. Edition 4/35.

Gelatin silver print, image 89 x 89 cm.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

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217. Richard Misrach (USA, 1949–) “Palm #3”, 1975.

Signed Richard Misrach verso. Selenium toned gelatin silver print, image 38 x 37.5 cm. Sheet 50.5 x 41 cm.

Provenance: Galleri Camera Obscura, Stockholm.

Literature: Grapestake Gallery, San Francisco, “Richard Misrach”, 1979, illustrated on full-page p. 77.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

218. William Klein (USA, 1928–) ”Smoke + Veil, Paris 1958 (Vogue)”.

Signed William Klein verso. Gelatin silver print, image 47 x 33.5 cm.

Sheet 60 x 50 cm.

Provenance: Alona Kagan Gallery, New York.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

Otto Steinert Otto Steinert is one of the most important figures in post-war European photography. He broke with the conventions of documentary photography and profoundly influenced the visual language, both theoretically and practically.

Born in Saarbrücken, Germany, in 1915, Steinert’s interest in photography began as a teenager, but he first chose a career as a doctor, serving as a staff physician during World War II. In 1947, he began to devote himself to photography full-time. He spent the rest of his professional life experimenting with form and technique using the camera to explore photography as a means of personal expression. Steinert placed a new emphasis on the photographer’s own creativity. He described how a series of creative decisions, from the choice of equipment to perspective and printing techniques, could make the subject take on a new meaning or significance.

Steinert’s hallmarks are tight cropping, slow shutter speeds and multiple exposures. He often worked with photograms (where objects are placed on light-sensitive paper and developed without a darkroom) and was a master at manually manipulating his images through darkroom montage.

From 1948, Steinert taught photography at the Saarland State School of Arts and Crafts in Saarbrücken. In 1949, he founded the Fotoform group, which aimed to revive the avant-garde photography of the 1920s and the formal experiments of the ”New Vision” movement and the idiom developed at the pioneering Bauhaus school. Between 1950 and 1958, Fotoform presented several important exhibitions under the title ”Subjektive Fotografie”.

From 1959 onwards, Steinert was a teacher and professor at the Folkwang Schule in Essen. There he also built up a renowned museum. Today, his archive is part of the photographic collection of the Museum Folkwang.

Steinert is represented in most major museum collections, including MoMA in New York and the Victoria & Albert Museum in London. The Moderna Museet collection in Stockholm includes the auction motif, and the collections of the Getty Museum and the Centre Pompidou include another version of the same motif, “Die Bäume vor Meinem Fenster I”, 1950, depicting the three trees without leaves.

Several exhibitions of Steinert’s photography have been organized around the world, including at the Tate Modern in London and the Museum Folkwang, Essen.

219. Otto Steinert (Germany, 1915–1978) “Die Bäume vor meinem Fenster II (The Trees Outside my Window II)”, 1956.

Signed Otto Steinert on the mount. Also signed and with dedication on the back of the mount. Gelatin silver print mounted on cardboard, image 48.5 x 60.5 cm.

Mount 53 x 63.5 cm.

Provenance: Directly from the photographer to the previous owner. Private Collection, Sweden.

Exhibitions: Fotografiska Museet, “Otto Steinert : fotografier 1929 - 1973”, 16 April - 15 May 1977, another example exhibited.

Münchner Stadtmuseum, München, “Otto Steinert. Fotografier 1929-1973”, 1977, another example exhibited.

Fotografiska Museet, Stockholm, “Tusen och en bild”, 1 April - 3 September 1978, another example exhibited.

Literature: Otto Steinert, Fritz Kempe, “Otto Steinert Fotografier 1929 - 1973”, 1977, illustrated.

Leif Wigh, Åke Sidwall, “Tusen och en bild”, 1978, illustrated.

Ute Eskildsen (ed.), “Der Fotograf Otto Steinert”, 1999, illustrated p. 173.

Estimate: SEK 150 000 – 175 000 / EUR 13 270 – 15 480

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220. Ann Eringstam (Sweden, 1977–) “In Search of Wonderland #10”, 2013.

Signed Ann Eringstam on label verso. Edition 2/5 + 2 AP. C-print silicone mounted on aluminium and acrylic glass 100 x 145 cm.

Provenance: Galleri Mårtenson & Persson, Stockholm.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

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221. Maria Friberg (Sweden, 1966–) “Alongside Us #4”, 2007.

Signed Maria Friberg verso. Edition 3/5 + 2 AP. C-print, glass, laminate 113 x 140 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Exhibitions: Thielska Galleriet, Stockholm, “Maria Friberg, Almost There.”, 16 September 2023–3 March 2024, another example exhibited.

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850

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222. Denise Grünstein (Finland, 1950–2023) “Cadmium Red”, 2011.

From the series “AcuteStillLife”. Signed Denise Grünstein and numbered AP 1/2 verso. Total edition 5 + 2 AP. C-print mounted to aluminum and framed, 82 x 102 cm including frame.

Provenance: Galleri Mårtensson & Persson, Stockholm.

Literature: Estelle af Malmborg, “Contemporary Swedish Photography”, 2012, illustrated p. 67.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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223. Olafur Eliasson (Iceland, 1967–) “Untitled (Iceland Series)”, 2000.

Signed Olafur Eliasson on label verso. Unique. C-print 60 x 90 cm.

Provenance: Bonacdar Jancou Gallery, New York.

Tanya Bonacdar Gallery, New York.

Private Collection, Sweden.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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224. No lot

224A. Andreas Kock (Sweden 1973–) “Stalker I”, 2010.

Signed Andreas Kock and numbered AP 2/2 verso.

Total edition of 15 + 2 AP. C-print mounted on dibond and framed, image 120 x 160 cm.

Estimate: SEK 50 000–70 000/ EUR 4 530–6 350

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225. Lennart Nilsson (Sweden, 1922–2017) “Rymdfararen”, 1965.

From “A Child Is Born”. Signed Lennart Nilsson and dated 2003.

Cibachrome, image 69 x 69 cm.

Literature: Lennart Nilsson and Lars Hamberger, “Ett barn blir till”, 1995, illustrated on full-page p. 106.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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226. Torbjörn Calvero (Sweden, 1949–2016) “4 x Mick, Tyskland, maj 1976”.

Stamp from Calvero Estate verso. Printed later. Edition 1/5 + 1 AP. Gelatin silver print, image 30 x 135 cm.

Literature: Torbjörn Calvero and Christer Olsson, “Från Abba till Zeppelin. Calveros 70-tal”, compare images on p. 88–93.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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227. Andres Serrano (USA, 1950–) “The Interpretation of Dreams (White Man’s Burden)”, 2000.

Signed Andres Serrano and numbered 4/7 verso. Cibachrome silicone-mounted on acrylic glass and framed, image 100 x 81 cm.

Provenance: F. Daniello Fine Art, Connecticut.

Exhibitions: Paula Cooper Gallery, New York, “Andres Serrano - The Interpretation of Dreams”, May 12 - June 8 2001, another example exhibited.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

228. Helmut Newton (USA, 1920–2004) “SUMO”, 1999.

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

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850

229. 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 150 000 – 200 000 / EUR 13 270 – 17 690

230. Anton Corbijn (Netherlands, 1955–) “Sean Lennon, Paris, 1998”.

Signed Anton Corbijn on label verso. Edition 4/8. C-print mounted on dibond and acrylic glass, 190 x 125 cm.

Provenance: Torch, Amsterdam. David Breitzel Gallery, New York.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

231. Terry O'Neill (Great Britain, 1938–2019) “Raquel Welch on the Cross, Los Angeles”, 1970.

Signed Terry O'Neill and numbered 5/50. C-print image, 38 x 38 cm.

Literature: Terry O'Neill, “Terry O'Neill: The A-Z of Fame”, 2013, illustrated on full-page p. 333.

Provenance: F. Daniello Fine Art, Connecticut.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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Mike & Doug Starn (Starn Twins) Since the 1980s, American twin brothers Mike and Doug Starn have been exploring the photographic medium and testing its limits. Their conceptual works often start with a photographic image, which is then transferred to unusual materials such as glass, plastic film, tape, sheet metal or handmade paper. The motifs are sometimes designed as collages and built up in several layers, which are put together with, for example, pins. “We try to show that photography is not an image, it’s a three-dimensional object,” they explained, ”It can have the same kind of growth and limitations or non-limitations as the other arts.” In a way, the innovative exploration of materials has become the hallmark of the Starn Twins, whether in sculpture, painting, video or photography. The concept of ’light’, as an idea and expression, runs like a red thread through the Starn brothers’ work. It can be about how moths are drawn to the lamp, how light filters through the branches of trees or about religious enlightenment.

The twins’ artistic collaboration started at the age of 13, and when they were 26 they broke through at the Whitney Biennial in New York. Since then, they have been recognized for their exhibitions at the Stedelijk Museum in Amsterdam, the Metropolitan Museum of Art in New York, the 2011 Venice Biennale, and the Museum of Fine Arts in Houston, among others. Since the early 2000s, the Starn Twins have exhibited regularly at the Wetterling Gallery in Stockholm, most recently with the exhibition “Iggy and Franz” in the summer of 2019 and a group exhibition in the winter of 2023.

Today, their work can be found in the collections of The Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the National Gallery of Victoria in Melbourne and Moderna Museet in Stockholm.

232. 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 150 000 – 200 000 / EUR 13 270 – 17 690

233. Hans Hammarskiöld (Sweden, 1925–2012) “Sjuglasvagnen”, 1980.

Signed Hans Hammarskiöld and numbered 20/50. C-print 41.5 x 52 cm.

Literature: Hans Hammarskiöld & Niklas Rådström, “Stockholm- De fyra årstiderna”, 1997, illustrated. Kurt Mälarstedt, “Foto Hammarskiöld - Tiden och ljuset”, 2008, illustrated on spread p. 196–197.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070

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234. Hans Hammarskiöld (Sweden, 1925–2012) “Bastugatan, Stockholm, 1980”.

Signed Hans Hammarskiöld and numbered 33/50. C-print 45 x 32.5 cm.

Literature: Hans Hammarskiöld and Niklas Rådström,”Stockholm - De fyra årstiderna”, 1997, illustrated. Kurt Mälarstedt, “Foto Hammarskiöld - Tiden och ljuset”, 2008, illustrated p. 204.

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890

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235. Walter Hirsch (Sweden, 1935–2012) “En kärlekshistoria”, 1969.

Signed Walter Hirsch and dated 1981, numbered AP, verso.

Total edition in this size 15 + AP. Gelatin silver print, image 33 x 49 cm. Sheet 40.5 x 50.5 cm.

Literature: Clara Dagh (ed.), “Åmells Collection of Swedish Photography”, 2015, illustrated on full-page p. 53.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

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236. Cecilia Ömalm (Sweden, 1974–) “Malmaison V (Staircase)”, 2007.

Signed Cecilia Ömalm and dated 2007/12, numbered 5/5 + 1 AP, verso.

Digital print, image 107 x 87 cm. Including frame 132 x 111 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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237. Carl Axel Andreas Lundberg (Sweden, 1973–) “Tyra”, 2019.

Signed Carl and numbered 3/11 verso. Pigment print, image 69 x 99 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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238. Dawid (Björn Dawidsson) (Sweden, 1949–) “Joyce”, 1995.

Signed verso. Printed in 2005. Giclée print, image 55 x 44 cm. In the artist's original frame 76 x 65 cm.

Exhibitions: Galerie 213, Paris, 1999.

Literature: Joyce Magazine, Hong Kong, 1995. Galleri UP, published as a poster, 1998.

Expose, postcard, 2004. Liljevalchs Konsthall, Stockholm, “Hybris”, 2008, illustrated p. 38. Dawid, “Jobb/Work”, 2010, illustrated p. 5.

Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330

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239. Nick Brandt (Great Britain, 1966–) “Lion and Wildebeest, Amboseli, 2012”.

From the series “Across the Ravaged Land”, 2010–2012. Signed Nick Brandt and numbered 5/12. Pigment print, image 101 x 126 cm. Including frame 136 x 160 cm.

Literature: Nick Brandt, “Across the Ravaged Land”, 2013, illustrated on full-page p. 85.

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850

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240. Mike & Doug Starn (Starn Twins) (USA, 1961–) “Ganjin (nine panels)”, 2000–2001.

Signed Mike and Doug Starn verso. Edition AP 2. Toned gelatin silver print on Thai mulberry paper, image 58 x 58 cm. Including frame 76 x 76 cm.

Provenance: Wetterling Gallery, Stockholm.

Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 310

241. Cory Arcangel (USA, 1978–) “Maxell”, 2007.

Four parts. Each part signed and numbered 1/6 verso.

C-print, 30.5 x 22.5 cm per part including frame.

Provenance: Brändström & Stene, Stockholm. Christian Zätterström Collection, Malmö.

Exhibitions: University of Michigan Museum of Art, Ann Arbor, 'Creative Pursuits', 2010, another example exhibited. Hamburger Bahnhof, Berlin, “Here Comes Everybody”, 2010, another example exhibited.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

242. Mick Rock (Great Britain, 1948–2021) ”Mick Jagger and Andy Warhol, NYC, 1978”.

Signed Mick Rock and numbered 15/50. Pigment print, image 43.4 x 54.5 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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243. Laurie Simmons (USA, 1949–) “Walking House”, 1996.

Signed Laurie Simmons and numbered TP 3/10. Photogravure, image 72.5 x 42.5 cm. Including frame 82.5 x 57.5 cm.

Provenance: Fred Dorfman Gallery, New York. Liliana Tovar, Stockholm/New York. Private Collection, Sweden.

Estimate: SEK 15 000 – 18 000 / EUR 1 330 – 1 600

244. Sam Samore (USA, 1963–) “Untitled (Betty Ford)”, 1985.

Gelatin silver print, image 180 x 91 cm. Including frame 214 x 124.5 cm.

Provenance: Directly from the artist. Thomas Nordanstad. Private Collection, Sweden. Liliana Tovar, Stockholm/New York. Private Collection, Sweden.

Estimate: SEK 125 000 – 150 000 / EUR 11 060 – 13 270

Esko Männikkö Finnish photographer Esko Männikkö came to international prominence in the mid-1990s with his series of photos showing bachelors in the northern parts of Finland. The images can be described with words like intimacy, dignity and humor, despite the apparent hardship experienced in these places. His later pictures, from Mexico and elsewhere, also depict environments and cultures on the margins of society.

In the ’Mexas’ series, Männikkö portrays the Mexican population around the cities of San Antonio and Batesville, Texas. Although the climate and the size of the population and communities differ between northern Finland and Texas, there are also many similarities between the people Männikkö has photographed.

In many ways, Männikkö’s work shows a strong affinity with painting. His subjects include hunting scenes, still lifes and portraits, reminiscent of the skillful Dutch artists of the 17th century. In their magnificent Vanitas still lifes, withered flowers, insects and rotting fruit reminded us of the transience of life. Instead of the lavish flower arrangements and silver goblets of the time, Esko Männikö’s still life depicts an everyday kitchen table three hundred years later, the remains of a meal where the ashtray and its cigarette butts have been replaced by the grinning skulls of the Dutch.

Männikkö’s documentary images depict life in the Finnish highlands, an environment where fishing, hunting and reindeer herding are a natural part of life. The still lifes of Dutch painters were also often linked to fishing and hunting. In fact, the fish is one of the oldest pictorial symbols, an early Christian symbol but also an important element in Finnish mythology.

The connection to painting is further emphasized by Männikkö’s choice of frames. He chooses the frames for all his photographs himself. In the

earlier series, he used worn and broken frames that he bought at a flea market or found, while in the later suites he has created them himself, in darker tones and with a stronger character.

Even in the interiors, the choice of subject, section and composition are strongly reminiscent of classical genre painting. There are several similarities with, for example, Anders Zorn’s idealized paintings of cottage interiors in Dalarna. Just as in turn-of-the-century genre painting, Männikkö attempts to depict the everyday concerns of the common people. However, Zorn’s voluptuous Dalecarlians have been replaced by men in work clothes.

Esko Männikkö is represented in the collections of the Fondation Cartier, Paris, The Museum of Contemporary Art in Helsinki, Moderna Museet and the Museum of Contemporary Art, Los Angeles.

He has had several exhibitions at Galerie Nordenhake in Stockholm and Berlin and at Yancey Richardson in New York, among others. In 2008 he was awarded the prestigious Deutsche Börse Photography Prize.

245. Esko Männikkö (Finland, 1959–) “Savukoski”, 1994.

Signed Esko Männikkö and dated 2004, numbered 7/20, verso.

C-Print, 57 x 67 cm including the artist's frame.

Provenance: Galerie Nordenhake, Berlin. Bukowski Auktioner, Höstens Contemporary 576, November 2013, lot 324.

Exhibitions: White Cube, London, “Esko Männikkö - Photographs”, 17 July - 5 September 1998, another example exhibited.

Literature: Esko Männikkö, “Naarashauki - The Female Pike”, 2000, illustrated full-page p. 96.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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246. Esko Männikkö (Finland, 1959–) “Kuivaniemi”, 1993.

Signed Esko Männikkö and numbered 12/20 verso.

Printed in 2001. C-Print, 78 x 64 cm including the artist's original frame.

Provenance: Galerie Nordenhake, Berlin. Bukowski Auktioner, Vårens Contemporary 573, May 2013, lot 363.

Literature: Männikkö, “Naarashauki - The Female Pike”, 2000, illustrated p. 92.

De Pont Foundation for Contemporary Art,”Esko Männikkö”, 1996, illustrated p. 41.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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247. Esko Männikkö (Finland, 1959–) “Cowboy, San Antonio”, 1996.

From the series “Mexas”. Signed Esko Männikkö and dated 1997, numbered 5/20, verso. C-print 85.5 x 102.5 cm including the artist's frame.

Provenance: Galerie Nordenhake, Stockholm. Bukowski Auktioner, Höstens Contemporary 576, November 2013, lot 327.

Literature: Esko Männikkö, “Mexas”, 1999, illustrated on cover and full-page p. 76.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

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248. Esko Männikkö (Finland, 1959–) “Victoriano, Batesville”, 1997.

From the series “Mexas”. Signed Esko Männikkö and dated 1997, numbered 2/20, verso. Vintage. C-print 51 x 62 cm including artist's frame.

Provenance: Galerie Nordenhake, Stockholm. Bukowski Auktioner, Contemporary Art & Design 606, April 2018, lot 207.

Literature: Esko Männikkö, “Mexas”, 1999, illustrated on p. 23.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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249. Esko Männikkö (Finland, 1959–) “Frank and Christina, San Antonio”, 1996.

From the series “Mexas. Signed Esko Männikkö and dated 1997, numbered 3/20, verso. Vintage. C-print 96 x 115 cm including artist's frame.

Provenance: Galerie Nordenhake, Stockholm. Bukowski Auktioner, Contemporary Art & Design 606, April 2018, lot 208.

Exhibitions: Institute of Contemporary Arts (ICA), London, “Sightings”, 1998.

Literature: Esko Männikkö, “Mexas”, 1999, illustrated on p. 33.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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250. Esko Männikkö (Finland, 1959–) “Christina and José, San Antonia, 1996”.

Signed Esko Männikkö and numbered 2/20 verso. C-print, 64 x 53.5 cm including the artist's frame.

Provenance: Galerie Nordenhake, Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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251. Helena Blomqvist (Sweden, 1975–) “Le Grand Voyage”, 2013.

Signed Helena Blomqvist and dated 2013, numbered 5/6, on label verso.

Pigment print, image 82 x 136 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Literature: Helena Blomqvist, “Florentine”, 2016, illustrated on full-page.

Estimate: SEK 70 000 – 90 000 / EUR 6 190 – 7 960

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252. Anneè Olofsson (Sweden, 1966–) “The Conversations, Island Life, The Mother #2”, 2006.

Total edition 3. C-print mounted on aluminum 120 x 120 cm. Includes frame with a motif of the work's wallpaper commissioned by the seller 120 x 155 cm, depth 40 cm.

Provenance: Mia Sundberg Galleri, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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253. Jonas Dahlberg (Sweden, 1970–) “View from a Street”, 2009.

Signed Jonas Dahlberg verso. Edition 3/6. 25 parts, C-print, 32.5 x 46 cm each. Together 170.5 x 238 cm.

Provenance: Galerie Nordenhake, Stockholm.

Exhibitions: Galerie Nordenhake, Stockholm, “View Through a Park”, 14 May - 28 June 2009.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

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254. Ann-Sofi Sidén (Sweden, 1962–) “After the Fact (Bench)”, 2007.

Signed Ann-Sofi Sidén and numbered 8/9. Photogravure, diptych, 43 x 67.5 cm and 43 x 50.5 cm.

This work is sold in support of Mentor, a non-profit empowering youth aged 13–19 through role models, coaching, and motivation. Mentor’s programs equip young people with the skills to face challenges and reach their potential.

Founded in 1994 by Her Majesty Queen Silvia of Sweden, in partnership with the World Health Organization, Mentor has worked globally for 30 years to prevent substance abuse and promote youth wellbeing.

Provenance: Christian Larsen, Stockholm. Private Collection, Stockholm.

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890

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255. Denise Grünstein (Finland, 1950–2023) “Malplacé, 1a”, 2005.

Signed Denise Grünstein and dated 2005 verso. Edition 4/5 + 2 AP. Gelatin silver print silicone mounted on glass 100 x 125 cm.

Provenance: Galleri Charlotte Lund, Stockholm.

Literature: Bo Nilsson, Arja Miller e.a, “Denise Grünstein; Figure Out”, 2010, illustrated on spread p. 23–24.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

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256. Johan Bergström (Sweden, 1978–) “Pagan Postcards (Mayhem Excerpt #04)”, 2011.

Signed Johan Bergström and numbered 1/2 on label verso. Pigment print 103 x 140 cm including frame.

Provenance: Nordin Gallery, Stockholm.

Exhibitions: Nordin Gallery, Stockholm, “Pagan Postcards”, 2012.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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257. Helena Blomqvist (Sweden, 1975–) “Deerhunters”, 2004.

Signed Helena Blomqvist and numbered 3/5 verso. Lambda print, image 38.5 x 48 cm.

Literature: Angelika Knäpper Gallery and Helena Blomqvist, “Helena Blomqvist”, 2012, illustrated on full-page.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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258. Erwin Olaf (Netherlands, 1959–) “Berlin, Portrait 05, July 2012”.

Signed Erwin Olaf and numbered 4/10 on label verso.

Chromogenic print 120 x 90 cm. Including frame 132 x 101.5 cm.

Provenance: Hamiltons, London.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

259. 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 AP verso.

Total edition of 32 + AP. Pigment print, image 50 x 75 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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260. Henry B. Goodwin (Germany, 1878–1931) “Vårt vackra Stockholm”, 1920.

Published in 1920 to benefit the Daniel Fallström Foundation. Numbered 80/200.

Published by Bröderna Lagerström Boktryckare. Half-binding in calf leather and linnen.

One etching by Carl Larsson signed by Karin Larsson and 39 photo gravures. Illustrations

by Ernst Hällgren, Olle Hjortzberg, Louis Sparre, Robert Haglund, Ferdinand Boberg, Axel Herman Hägg, Knut Lindeberg and Aron Gerle. 33 x 25 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

260A. Camilla Åkrans (Sweden, 1977–)“Moa on Horse”, 2012.

Signed on label verso. Printed 2017. Edition 1/3 + 2 AP. Archival pigment print 61 x 91 cm.

Exhibitions: CFHILL + Fotografiska, Stockholm, 2017. Falsterbo Photo Art Museum, Falsterbo, “Camilla Åkrans”, 2024, another example exhibited.

Literature: Camilla Åkrans, “White Star”, 25 Magazine, Spring/Summer edition 2012, illustrated.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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260B. 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 70 000 – 90 000 / EUR 6 350 – 8 160

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260C. Christo Vladimirov Javacheff (Bulgaria, 1935–2020) “The Gates (Project for Central Park, New York City)”, 2005.

Signed Christo and Jean-Claude and numbered 12/13. C-print, image 57.5 x 92 cm. Including frame 73 x 106.5 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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260D. Mikael Jansson (Sweden, 1958–) “Fisichella, Shanghai #2”, 2005.

Signed Mikael Jansson and dated 2017, numbered 3/3, verso. Specially designed metal frame included. C-print silicone-mounted on aluminum and glass 100 x 150 cm.

Provenance: CFHILL, Stockholm.

Estimate: SEK 100 000–125 000 / EUR 9 070–11 300

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261. 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 30 000 – 40 000 / EUR 2 660 – 3 540

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262. Lena Cronqvist (Sweden, 1938–) “Inrullad”.

Signed LC and Lena Cronqvist. Edition 4/5 with stamp from H. Bergman Konstgjuteri, Stockholm. Executed 1993–94. Bronze, height 17 cm.

Literature: Galleri Lars Bohman (ed.), “Lena Cronqvist - Skulpturer”, 1995, illustrated fullpage on p. 13.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

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263. Peter Frie (Sweden, 1947–) ”From the Noen suite” .

Signed Peter Frie verso. Executed in 2001. Oil on canvas 198 x 117 cm.

Estimate: SEK 150 000 – 200 000 / EUR 13 270 – 17 690

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264. Mats Gustafson (Sweden, 1951–) “Rock 1/2”.

Signed Mats Gustafson and dated 2002 verso.

Watercolour 38 x 46.7 cm.

Provenance: Acquired from the artist by the present owner.

Estimate: SEK 30 000–35 000 / EUR 2 720–3 170

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265. Mats Gustafson (Sweden, 1951–) “Rock 2/2”.

SIgned Mats Gustafson and dated 2002 verso.

Watercolour 46.7 x 38 cm.

Provenance: Acquired from the artist by the present owner.

Estimate: SEK 30 000–35 000 / EUR 2 720–3 170

266. Ulf Rollof (Sweden, 1961–) “Small Pinkie”.

Signed Ulf Rollof and dated 21/11/06. Acrylic and floatglass with rounds of 9 mm revolver shots 49 x 34 cm. Original crate included in lot.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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267. Marie-Louise Ekman (Sweden, 1944–) “Ett ägg-monument, en lampa och en Olle Baertling-målning”.

Signed and dated M.L De Geer Bergenstråhle 1981.

Gouache on silk 30 x 21 cm.

Provenance: Bohman-Knäpper, Stockholm.

Exhibitions: Bohman-Knäpper, Stockholm, “Monument 1981”, 17 February - 18 March 2018.

Literature: Bohman-Knäpper, Stockholm, exhibition catalogue, “Monument, 1981, M.L Ekman”, 2018, illustrated.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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268. Alfred Boman (Sweden, 1981–) “Labour of Love/Phone Mountain”.

Signed Alfred Boman and dated 2014 verso. Mixed media on canvas 198 x 147 cm.

Provenance: Galerie Nordenhake, Stockholm.

Exhibitions: Galerie Nordenhake, Stockholm, “Tamara Hendersson, Alfred Boman »Sleep Walk«“, 20 February - 29 March 2014.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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269. Willem Andersson (Sweden, 1980–) “Utan titel”.

Signed Willem Andersson and dated 2006.

Pencil on paper 29.5 x 41.6 cm.

Provenance: Galerie Bel'Art, Stockholm.

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890

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270. Astrid Sylwan (Sweden, 1970–) Untitled.

Signed Astrid Sylwan and dated 2015 verso.

Enamel paint on metal 80 x 75 cm.

Provenance: Tom Böttiger Collection. Bukowski Auktioner, Tom Böttiger Collection H067, October 2023, lot 106.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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271. Linn Fernström (Sweden, 1974–) “Blicken”.

Signed Linn Fernström and dated 2008 verso. Pencil on paper 66 x 50 cm.

Exhibitions: Lars Bohman Gallery, Stockholm, “Linn Fernström”, 3 0 August - 28 September 2008.

Estimate: SEK 40 000 / EUR 3 540

272. Per Fhager (Sweden, 1980–) “Final Fantasy VI”.

Signed PF verso. Executed in 2020. Wool embroidery mounted on canvas, 78 x 88 cm.

Provenance: Aqcuired directly from the artist by the present owner.

Exhibitions: Jönköpings Läns Museum, “Soft Pixels”, 4 September - 26 November 2023. Textilmuseet, Borås, “Game Over”, 26 May - 11 September 2016.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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273. Håkan Rehnberg (Sweden, 1953–) Untitled.

Signed Håkan Rehnberg and dated 1998 verso.

Oil on acrylic glass 152 x 125 cm.

Provenance: Galerie Nordenhake, Stockholm.

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850

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274. Torsten Andersson (Sweden, 1926–2009) “Månen och hästhoven”.

Signed Torsten. Oil on canvas mounted on panel 64 x 60 cm.

Provenance: From the artist's estate. Subsequently by descent to the present owner.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

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275. Fredrik Söderberg (Sweden, 1972–) “Sunrise”.

Watercolour, image 70 x 49 cm.

Provenance: Milliken Gallery, Stockholm.

Exhibitions: Milliken Gallery, Stockholm, 2008.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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276. Fredrik Norén (Sweden, 1979–) “Spinning”.

Signed by Fredrik Norén and dated 2006. Oil on MDF. Length 175 cm.

Exhibitions: Kabusa Konsthall, Köpingebro, “Kabusa Invited”, 4 August - 3 September 2006.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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277. Jockum Nordström (Sweden, 1963–) “Byx med plåt”.

Signed Jockum. Executed in 2007.

Graphite on paper 45 x 64 cm.

Provenance: Galleri Magnus Karlsson, Stockholm.

Estimate: SEK 60 000 – 70 000 / EUR 5 310 – 6 190

278. Lars Lerin (Sweden, 1954–) Untitled.

Signed Lars Lerin and dated 2008. Watercolour 28 x 38 cm.

Provenance: A gift from the artist to the present owner.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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279. Clay Ketter (Sweden, 1961–) “We do what we do”.

Signed Clay Ketter and dated 2010 verso. MIxed media and assemblage behind resin 73 x 72.2 cm.

Provenance: Wetterling Gallery, Stockholm,.

Exhibitions: Wetterling Gallery, Stockholm, “Clay Ketter - We Do What We Do”, 7 October - 13 November 2010.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

280. Willem Andersson (Sweden, 1980–) “Everything is Lost I”.

Signed Willem Andersson and dated 2017. Ink and oil on paper 125 x 93 cm.

Provenance: Belenius, Stockholm.

Exhibitions: Belenius, Stockholm, “Fell into Place”, 9 March - 9 April 2017.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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281. Mats Gustafson (Sweden, 1951–) Untitled.

Signed Mats and dated ‘87. Watercolour 43 x 35 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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282. Barbro Bäckström (Sweden, 1939–1990) Utitled.

Signed Barbro Bäckström and dated 1984. Iron mesh.

Height 75 cm, width 80 cm.

Estimate: SEK 150 000 – 175 000 / EUR 13 270 – 15 480

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283. Emma Hartman (Sweden, 1974–) “Hood”.

Signed Emma Hartman and dated 2013/14 verso.

Canvas 160 x 140 cm.

Provenance: Galleri Andersson Sandström, Stockholm.

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850

284. Ditte Ejlerskov (Denmark, 1982–) “Wild Rose Virus”.

Signed Ditte Ejlerskov and dated 2011 verso.

Oil on canvas 65 x 80 cm.

Provenance: Crystal, Stockholm.

Exhibitions: Crystal, Stockholm, “Full Arch”, 2011.

Estimate: SEK 18 000 – 20 000 / EUR 1 600 – 1 770

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Ola Billgren The painting presented in this auction, "Liggande kvinna" (Woman reclining) from 1995, incorporates precisely the elements we recognize from Ola Billgren's red period. A strongly reduced yet still recognizable image of a reclining female figure appears through layers of cadmium red that cover the canvas.

Billgren’s paintings are characterized by both duality and ambiguity, in terms of both expression and content, with a dreamlike presence that is unmistakable. His technique emphasizes this by always moving in the borderland between the realistic and the abstract—where these two opposites define Billgren as an artist.

His artistic career goes through several phases, or metamorphoses, which are reflected in his different periods.

His early hyper-realistic painting later moves toward a less representational style and culminates in the red period, where the paintings are covered in a bright red color that confronts the viewer. Billgren chooses to reduce the original image, and with the addition of red, he creates a painting that has found its final form through processes of building up and reducing.

The artist himself expresses it this way in the catalog accompanying the 1996 exhibition at Galleri Engström: “The task of painting is to be a discourse on seeing, not to classify natural objects. This was at least my starting point when, three years ago, I began experimenting with (quasi) monochrome painting in cadmium red. Initially, from the perspective of color experience, it seemed most appropriate to refrain from any representational content, but after some time of exploration, I changed my mind. I had become attached to the color red, mainly due to its paradoxical nature—it simultaneously pleases and attacks, flatters and humiliates the eye. It turned out that the interpretation of this relationship was enhanced by introducing an operator in the form of a simple motif, such as a portrait or interior (faces, furniture, etc.), which energetically appealed to the viewer and added a less peaceful meaning to the act of observation. In this way, by filling the referent’s place, I hope to say something about the visual necessity: about both the will to see and the will to be seen, and additionally to provide an uncensored version of the symbolic register of red. In other words, what I’m trying to do is, through some analysis, get the color to open up semantically, so that its more or less given meanings are illuminated in context.”

285. Ola Billgren (Sweden, 1940–2001) “Liggande kvinna”.

Signed Ola Billgren and dated -95 verso. Oil on canvas 61 x 98 cm.

Provenance: Galleri Glemminge, Ystad, 1990s.

Estimate: SEK 300 000 – 400 000 / EUR 26 530 – 35 370

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286. Björn Wessman (Sweden, 1949–) Untitled.

Signed Björn Wessman verso. Canvas 152 x 152 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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287. Disa Rytt (Sweden, 1984–) “Echo (cut-off) diptych”.

Signed Disa Rytt and dated 2020 verso. Diptych. Vinyl and gesso on transparent polyester canvas 63 x 40 cm and 93 x 63 cm.

Provenance: Larsen Warner, Stockholm.

Estimate: SEK 25 000 / EUR 2 210

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288. Jockum Nordström (Sweden, 1963–) Untitled.

Signed Jockum. Mixed media and collage 73 x 65 cm.

Provenance: Stockholm's Auktionsverk, Contemporary, 16 Nov 2010 lot 36.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

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289. Viktor Kopp (Sweden, 1971–) “Chocolate with initials”.

Signed Viktor Kopp and dated 2008 verso. Canvas 130 x 92 cm.

Provenance: Arnstedt & Kullgren, Östra Karup.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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290. Filippa Barkman (Sweden, 1983–) “Deppiga damen”.

Signed Filippa Barkman. Graphite on paper 124 x 96 cm.

Provenance: Stene Projects, Stockholm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

291. Christine Ödlund (Sweden, 1963–) “Mycelium”.

Executed in 2008. Pencil on paper 22 x 27 cm.

Provenance: Christian Larsen, Stockholm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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292. Sten Eklund (Sweden, 1942–2009) Untitled.

Signed Sten Eklund and dated 1967. Mixed media on paper 16.6 x 30.5 cm.

Provenance: Private Collection, Uppsala.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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293. Lars Hillersberg (Sweden, 1937–2004) “Kyrkogården”.

Signed Hillersberg. Executed in 1989. Mixed media on paper mounted to panel 236 x 160 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

294. Marie-Louise Ekman (Sweden, 1944–) “En man som lagar mat” (“En hund som äter”).

Signed M.L. De Geer and dated 1970. Gouache on silk 35 x 25 cm.

Provenance: Acquired directly from the artist in the early 1970s. Internationell kvalitetsauktion 10–13 December 2019, lot 617. Acquired from the above by the present owner.

Exhibitions: Presumably exhibited at the Svensk-Franska Konstgalleriet, Stockholm, “To my beloved,” 1971.

Literature: Maria Lind (red), “Marie-Louise Ekman”, 1998, illustrated p. 30.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

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295. Wilhelm von Kröckert /Ernst Billgren (Sweden, 1957–) “Hastig utflyttning”.

Monogram EB. Executed in 2015. Panel 90 x 125 cm.

Provenance: Lars Bohman Gallery, Stockholm. Bukowskis Auctions, Stockholm, Contemporary Art & Design 611, 2018, cat. no. 161.

Exhibitions: Lars Bohman Gallery, Stockholm, “Wilhelm von Kröckert: Original Pictures”, 28 March - 3 May 2015.

Literature: Lars Bohman Gallery, 2015, “Wilhelm von Kröckert, Orginalmålningar/Original Pictures”, illustrated p. 45.

Estimate: SEK 150 000 – 200 000 / EUR 13 270 – 17 690

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296. Lars Lerin (Sweden, 1954–) “Björk i fallande ljus”.

Signed Lars Lerin and dated 2004. Watercolour 151.5 x 102 cm.

Provenance: Karlstad Auktionsbyrå, 2016.

Private Collection, Sweden. Acquired from the above.

Estimate: SEK 300 000 – 400 000 / EUR 26 530 – 35 370

297. Dan Wolgers (Sweden, 1955–) “Källa”.

Candelabrum for three candles in silver-plated bronze, 2007, edition of 100. Height 11.5 cm.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070

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Rolf Hanson The staircase Rolf Hanson uses as the starting point for his series Runtom trappa (Around staircase) is located in Montigny-sur-Loing in France. It is a set of stone steps depicted in one of Carl Fredrik Hill's most famous paintings from 1876. Rolf Hanson returned to the steps in Montigny in the 1990s when he created his first version of 'Runtom trappa'. In the series' thirteen paintings, perspective, depth, horizon, and color scheme shift. The first three paintings are painted from different angles, and we can identify the brick railing and the rugged stone blocks that also appear in Hill's painting. 'Runtom trappa IV-VI' are more focused, both in terms of the steps now in the foreground and in terms of color composition. In painting number VIII, the golden ochra glows, seemingly flowing down the steps.

At the top, on the highest step, the image opens up toward a distant enchanting landscape in the background.

The painting currently up for auction is numbered XII and is one of the last three in the series. Now, the surface is back in focus, and we can only vaguely discern the staircase somewhere behind the dancing fields of colour.

Hanson moves not only around the staircase but also deeper into the painting before zooming out again and blocking the picture space.

Rolf Hanson belongs to the generation of Swedish artists, born in the early 1950s, who entered art schools during the 1970s. They became part of a counter-movement, in a very politicized decade where art was judged by its moral content. Their bold and individualistic style of painting permeated the 1980s, which also saw the emergence of a new interest in art collecting driven by the financial markets.

Hanson's artistry has its roots in the national romantic landscape tradition, late romanticism, and symbolism, while his technique and expression are strongly influenced by the groundbreaking powerful painting of the 1950s and 1960s. The spotlight in the art world had shifted from Paris to the US and American action painting influenced a new generation of artists. Hanson's work is characterized by a glowing abstract expressionism that, combined with the large format of the paintings, almost overwhelms the viewer.

Ever since his first major solo exhibition at Moderna Museet in Stockholm in 1985, Hanson's painting has generated interest. In 1988, he was selected to represent Sweden at the Venice Biennale, and in 1995, his next museum exhibition took place at Rooseum in Malmö, where Lars Nittve was the director and curator. This was followed in 1998 by an exhibition at Kunsthalle Düsseldorf. In 2006, yet another museum exhibition followed, this time at Dunkers Kulturhus in Helsingborg. Today, Rolf Hanson is one of the most significant artists in the Swedish art scene of his generation, and in 2021, Rolf Hanson Retroactive opened at Artipelag outside Stockholm. The current painting, Runtom trappa XII, has been exhibited both at Dunkers Kulturhus and at the major exhibition at Artipelag.

298. Rolf Hanson (Sweden, 1953–) “Runtom trappa 12”.

Signed Rolf Hanson and dated 2004–2005 verso. Oil on panel 170 x 160 cm.

Exhibitions: Dunkers kulturhus, Helsingborg, 'Rolf Hanson: Runtom hus/Around the house, Runtom trappa/Around the stair, Descendant/Remontant, Ombre portée, Superficie picturata', 2006.

Artipelag, Stockholm, “Rolf Hanson - Retroactive”, 5 June - 28 November 2021.

Literature: AnnCatrin Gummesson och Magnus Jensner (red), ‘Rolf Hanson: Runtom hus/Around the house, Runtom trappa/Around the stair, Descendant/Remontant, Ombre portée, Superficie picturata’, Dunkers kulturhus, 2006, reproduced in colour on full-page p. 55. “Rolf Hanson - Retroactive”, Artipelag, Gustavsberg, Sweden, 2021, illustrated full page p. 83 (titled “Runtom trappa XII”).

Estimate: SEK 500 000 – 600 000 / EUR 44 210 – 53 050

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Linn Fernström Linn Fernström’s “Tre Målare” is a captivating work that invites the viewer to dive into the artist’s self-reflective world. In this painting, Fernström depicts herself in three different self-portraits, capturing the moment of painting dragonflies - a symbolic and recurring motif in her art. These self-portraits serve as portals to a deeper conversation about identity, creativity and the mysteries of nature, allowing the viewer to reflect on their own relationship to art and reality.

In “Tre Målare”, nature and animals are central elements. Birds soaring through the painting remind us of freedom and transcendence, while dragonflies represent fragility and transformation. At the same time, the child placed in the painting with the artist creates an additional dimension of innocence and wonder, which is characteristic of Fernström’s work. The painting’s subtle balance between the real and the unreal, between fantasy and the concrete presence of nature, gives a sense of being in a borderland where anything is possible.

In the present work, traditional representation is transcended and instead becomes a reminder of what lies beyond our senses. Fernström’s paintings are both delicate and powerful, capturing the viewer with their sharp detail and ability to illuminate existential questions. Through her skillful technique and artistic courage, she creates a world where the otherworldly and the everyday meet, inviting the viewer to confront questions about the nature of reality and dreams.

Fernström uses her body as a tool for storytelling, giving her work a deeply personal character. In the auction painting, she invites the viewer to explore both the inner and outer worlds, where the composition is both playful and serious. The dramatic contrast between the bright, open backgrounds and the lively, almost hypnotic figures makes the viewer completely absorbed in the work.

Linn Fernström, born in Örebro in 1974, is one of Sweden’s most prominent contemporary artists with a career that spans international galleries and institutions, including Liljevalchs Konsthall and the Venice Biennale. She studied at Idun Lovén and the Royal Institute of Art in Stockholm (1995-2000) and made her breakthrough in 2001 at Lars Bohman Gallery. Her work, which often depicts people and animals in surrealist settings, explores themes such as death, love and man’s relationship with nature, which has captivated both Swedish and international viewers.

With its strong presence and complex expression, “Tre Målare” captures the essence of Linn Fernström’s art, where the boundaries between reality and fantasy are blurred, and the viewer is given the opportunity to meet both the artist and the universe she creates.

299. Linn Fernström (Sweden, 1974–) “Tre målare”.

Signed Linn Fernström and dated 2006 verso. Canvas 190 x 260 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Bonniers Konsthall, Stockholm, “20 år! - Stipendiater Maria Bonnier Dahlins Stiftelse 1985–2005”, 24 September - 17 December 2006.

Literature: Lars Bohman Gallery, “Linn Fernström, Målningar 2006–2008”, 2008, illustrated p. 9.

Estimate: SEK 500 000 – 600 000 / EUR 44 210 – 53 050

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300. Lena Cronqvist (Sweden, 1938–) “Skvallerbytta III”.

Signed LC and numbered 1/5. Executed 1993–94. Foundry mark H. Bergman.

Patinated bronze. Height 31 cm, width 30.5 cm and depth 29.5 cm.

Literature: “Lena Cronqvist - Skulpturer 1993–1995”, illustrated full page p. 67.

Estimate: SEK 100 000 – 125 000 / EUR 8 850 – 11 060

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301. Lotta Hannerz (Sweden, 1968–) “Notes-08”.

Signed Lotta Hannerz and dated 2008 verso.

Oil and assemblage on canvas 97 x 130 cm.

Provenance: Angelika Knäpper Gallery, Stockholm.

Exhibitions: Galerie Conrads, Düsseldorf, 'Lotta Hannerz', 8 November - 20 December 2008.

Literature: Svenska Dagbladet, 28 January 2010, illustrated p. 2.

Estimate: SEK 70 000 – 90 000 / EUR 6 190 – 7 960

302. Carin Ellberg (Sweden, 1959–) “In the woods, the view”.

Signed Carin Ellberg and dated -04. Coffee and pencil on paper 62 x 48 cm.

Provenance: Andréhn-Schiptjenko, Stockholm.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

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303. Eva Lange (Sweden, 1935–) Untitled.

Signed E L. Bowl-shaped sculpture in alabaster.

Diameter 55 cm.

Provenance: Direct from the artist to the present owner.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

304. Eva Lange (Sweden, 1935–) “The Dream”.

Signed E L. Sculpture in alabaster. Height 28.5 cm.

Provenance: Direct from the artist to the present owner.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070

305. Eva Lange (Sweden, 1935–) Untitled.

Bowl, hand-blown clear glass. Diameter 77.5 cm.

Provenance: Direct from the artist to the present owner.

Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330

306. Daniel Jensen (Sweden, 1972–) “Turbulence”.

Signed D Jensen and dated 2017 verso. Canvas 140 x 100 cm.

Provenance: Björkholmen Gallery, Stockholm.

Literature: Björkholmen Gallery, Stockholm, “Daniel Jensen, Current Events”, illustrated p. 109.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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307. Willem Andersson (Sweden, 1980–) Untitled.

Signed Willem Andersson and dated 2007. Canvas 160 x 125 cm.

Provenance: Belenius, Stockholm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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308. Christine Ödlund (Sweden, 1963–) Untitled.

Pencil on paper 36 x 64 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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309. Emma Bernhard (Sweden, 1981–) “Failed Geometry”.

Executed in 2017. Oil and acrylic on wool 210 x 150 cm.

Provenance: Erik Nordenhake, Stockholm.

Estimate: SEK 100 000 – 125 000 / EUR 8 850 – 11 060

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310. Jim Thorell (Sweden, 1981–) Untitled.

Signed Jim Thorell and dated -16 verso. Canvas 196 x 140.5 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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311. Tomas Lundgren (Sweden, 1985–) “Mirroring IV”.

Signed Tomas Lundgren and dated 2015 verso. Canvas 250 x 160 cm.

Provenance: Galleri Thomas Wallner, Simris.

Exhibitions: Färgfabriken, Stockholm, “Beckers Konstnärsstipendium”, 2016.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

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Anders Widoff Anders Widoff works alternately with painting and sculpture. He often starts with simple, overlooked, and seemingly insignificant objects, repeatedly restoring their value. He gravitates toward the everyday, offering the viewer new ways to see a hidden meaning beyond the obvious.

In the work "Skånsk allmoge" he has depicted a piece of checkered textile, similar in style to the work Förtroende (Trust) created in 1992 and purchased by Moderna Museet. The title alludes to traditional Swedish folk craft, but the pattern evokes a more banal association with checkered shirt fabric. Widoff has moved away from the classicist painting of the late 1980s and, through sharp stylistic shifts, sought new directions in his artistry. Via museum installations and art investigations, he has continued to develop his ambition to make the viewer see the value in the forgotten and trivial. In the 1990s, he returned to realistic painting and created a series of large canvases featuring variations of checkered patterns.

Mårten Castenfors writes about Widoff’s realistic kitchen wax-cloth paintings in the Saltarvet Collection catalog, 2001: 'With its carefully painted pattern, Widoff has created a tribute to the familiar plastic tablecloth found on kitchen tables, an illusion that also contains hints of stains and traces of daily life. Through his painting, Widoff has found a crossroad between realism and classic minimalism while simultaneously bringing art down from its high pedestal by sincerely emphasizing tangibility, everydayness, and materiality.'

Anders Widoff has exhibited both nationally and internationally since the late 1970s. In Sweden, he has had solo exhibitions at, among others, Moderna Museet and Liljevalchs Konsthall, and abroad at institutions such as Wiener Secession and Overbeck-Gesellschaft in Lübeck. He has also worked for many years as a professor at Konstfack and the Oslo National Academy of the Arts.

312. Anders Widoff (Sweden, 1953–) “Skånsk allmoge”.

Signed A. Widoff verso. Executed in 1998. Canvas 240 x 176 cm.

Estimate: SEK 200 000 – 250 000 / EUR 17 690 – 22 110

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313. Marie-Louise Ekman (Sweden, 1944–) “The Philosopher and the poet och bröst, näsa, mun”.

Signed M.L Ekman and dated 1999. Oil on canvas in the artist's frame 61 x 52.5 cm.

Provenance: Acquired directly from the artist.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

314. Ulf Rollof (Sweden, 1961–) “RGB”.

Signed Rollof and dated 2010. Triptych. Acrylic, float glass, and metal holder shot with a 9 mm revolver bullet, each 99 x 69 cm. Total measurements 99 x 207 cm.

Estimate: SEK 125 000 – 150 000 / EUR 11 060 – 13 270

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315. Per Mårtensson (Sweden, 1969–) “Untitled”.

316. Lisa Jonasson (Sweden, 1978–) “Existentiell Progg #2”.

Signed Per Mårtensson and dated 2009 verso.

Oil on canvas 200 x 180.5 cm.

Signed Lisa Jonasson and dated 2007 verso. Collage of paper cut-outs and ink on paper 32.5 x 50 cm.

Provenance: Private Collection, London.

Via Niklas Belenius to a private collection, Sweden.

Provenance: Galleri Mårtenson & Persson, Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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317. Lars Lerin (Sweden, 1954–) Untitled.

Signed Lars Lerin and dated 87. Watercolour on paper 100 x 70 cm.

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318. Lars Englund (Sweden, 1933–) Aquarelief.

Signed Lars Englund and dated 1990. Polychrome plastic

Provenance: Acquired at Lerins Kläder, Munkfors by the present owner.

relief mounted in a plexi glass box, approximately 34 x 29 cm.

Estimate: SEK 125 000 – 150 000 / EUR 11 060 – 13 270

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890

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Photo: Bandhagen, Bandhagsplan, postcard Pressbyrån 30663.

Photo: Dick Bengtsson in front of 'Turister på Hawaii,' Minette Hollimon's archive."

Dick Bengtsson In Dick Bengtsson’s early work 'Winter in Bandhagen,' a seemingly abandoned high-rise towers over a desolate space, emptied of people. The image appears to be a commentary on post-war social engineering in Stockholm, where attempts were made to solve the severe housing shortage by creating entirely new communities outside the city center.

The color palette is muted, and the apocalyptic atmosphere is heightened by the two warships that seem to be placed in the fountain of the open space. The foreground is framed by a series of symbols, heraldic signs, graffiti, and fragments of abstract compositions. It is a rebus, a reverse allegory that opens up a labyrinth of interpretations, depending on which position one chooses. With his enigmatic paintings, Dick Bengtsson has, since the sixties and with renewed strength today, fascinated and impacted new generations of viewers.

Mårten Castenfors writes in the foreword to Saks’ publication 'Dick Bengtsson,' 2005: 'Like few others, the self-taught Bengtsson, with his fragmentary painting and cryptic installations, has inspired and fascinated a younger generation of artists. With his symbols, his at times provocative swastikas, and his paintings patinated by ironing, Bengtsson emerges as an iconoclast, but also as a rational romantic, as complex as he is playful, as bold as he is strict. Bengtsson’s painting and installations strike with great mystery, sweeping in the memory of the past, while this memory also foreshadows a welfare state on the brink of collapse.'

In front of a work by Dick Bengtsson, one is never quite sure of the meaning of the various components. His art is filled with mystery and poses more questions than it answers. In his multi-layered world, one is forced to challenge values and patterns of association; it demands the viewer’s full attention. It is difficult to distinguish between truth and fantasy, and he himself described his paintings as a form of reality distortion. A sharp observation of details is combined with charged symbols and visual elements in a spatial depiction that is highly unclear. The fall of light adds to the mystery, seeming to come from within the motif, and there are no clear shadows.

Douglas Feuk has described Dick Bengtsson’s motifs as neither created after nature nor according to any traditional rules of art. The artist’s imagination required support from photographic templates, which could be images from magazines, art books, encyclopedias, or similar, forming

the basis for a new painting. The template was transformed into a line drawing that, through a laborious copying technique, was transferred and enlarged to the desired format. Consequently, no sketches existed; what was preserved in the artist’s archive were line drawings and the transparent or grid-lined papers used in the process.

Dick Bengtsson is one of the country’s most important and influential artists. With his critique of modernism’s over-reliance on a single truth, he was an early precursor of postmodernism. By never accepting that there is only one correct way to interpret something, his art raised previously unaddressed questions. He is said to have remarked, 'The problems begin outside the picture frames.' His fellow artists and a circle of collectors and museum professionals recognized his greatness even during his short lifetime, and he was spoken of as an 'artist’s artist.' Even today, we see clear traces of his influence on contemporary Swedish art.

The Swedish artist Mamma Andersson describes her first encounter with Dick Bengtsson’s art when she worked as a museum guard in the 1980s: 'For several years, I started my workdays with a cup of coffee and a look through the worn-out 1983 catalog from Moderna Museet.

It’s hard to pinpoint what it was that captivated me so much. One thing is certain: it was liberating to encounter an artist who was so unpretentious, independent, and completely unsentimental. Painting after painting is made in an awkward, slow, and hauntingly beautiful way. Suddenly, everything was allowed and forgiven; it was just a matter of painting and trusting your innermost dreams and nightmares. I had a feeling that he disregarded the established rules of painting and trusted only himself.'

319. Dick Bengtsson (Sweden, 1936–1989) “Vinter i Bandhagen”.

Signed Dick Bengtsson verso. Executed in 1965. Oil on panel, divided in two 176 x 115 cm.

Provenance: The artist's family.

Exhibitions: Skarpnäcks konstförening, Sweden,”Ung generation 65”, travelling exhibition 1965. Moderna Museet, “Dick Bengtsson”, 26 March - 15 May 1983. Olle Olsson-Huset Hagalund, Solna, Sweden, “Dick Bengtsson”, 10 September - 9 October 1988. Lunds Konsthall, Lund, Sweden “Dick Bengtsson”, 23 April - 29 May 1994. Uppsala Konstmuseum, “Dick Bengtsson”, 22 January - 9 April 2000, cat. no 39. Göteborgs konstmuseum, Gothenburg, “Dick Bengtsson”, 30 January - 25 March 2001. Moderna Museet, Stockholm, “Dick Bengtsson”, 21 January - 30 April 2006, cat. no 19.

Literature: Björn Springfeldt (Ed.), “Moderna Museets exhibition catalogue no 181”, 1983, illustrated full-page. Bo A Karlsson (Ed.), “Här bor Dick Bengtsson”, 2005, illustrated p. 157.

Mårten Castenfors (Ed.), “Dick Bengtsson”, SAK, 2005, Illustrated p. 125.

Estimate: SEK 800 000 – 1 000 000 / EUR 70 740 – 88 420

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320. Dick Bengtsson (Sweden, 1936–1989) Untitled.

Oil on panel 60.7 x 50 cm.

Provenance: The artist's family.

Literature: SAK, “Dick Bengtsson”, 2005, cf. Untitled, oil on panel, executed in 1959, illustrated p. 29.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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321. Dick Bengtsson (Sweden, 1936–1989) Untitled.

Indistinctly signed and dated '57. Oil on panel 44.7 x 66.7 cm.

Provenance: The artist's family.

Exhibitions: Göteborgs konstmuseum, “Dick Bengtsson”, 13 January - 25 March 2001.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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322. Dick Bengtsson (Sweden, 1936–1989) Utan titel.

Oil on panel 45 x 68 cm.

Provenance: The artist's family.

Exhibitions: Göteborgs konstmuseum, “Dick Bengtsson”, 13 January - 25 March 2001.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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323. Dick Bengtsson (Sweden, 1936–1989) “Tidningsbudet”.

Executed around 1963. Oil on panel 26.5 x 21.5 cm.

Provenance: Private Collection, Stockholm.

Literature: SAK, “Dick Bengtsson”, 2005, illustrated full-page p. 128.

Estimate: SEK 200 000 – 250 000 / EUR 17 690 – 22 110

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324. Dick Bengtsson (Sweden, 1936–1989) Artist's archive of Dick Bengtsson.

Artist’s archive of Dick Bengtsson consisting of: Watercolour, signed DB, class 6 (mounted in the memory book) 16 x 15 cm.

Collage on paper, 2 pieces, 33 x 24 cm. Unsigned.

Works on cardboard, 2 pieces, 30 x 35 cm and 27 x 27 cm.

Sketches, line drawings, tracing paper, preparatory works, revisions, and calculations for enlargements of the artist’s major works.

Book, “Hattfabriken/Luckenwalde/Gerry Johansson,” signed Gerry Johansson, 2012. A letter accompanies: “Hello, I made this book in connection with Dick’s painting Hat and Cap Factory. Regards, Gerry Johansson.”

Sketchbook, including drawings signed and dated from the 1950s.

Press clippings from 1964 onwards.

Private photographs and portraits of the artist.

Exhibition photos - including those by Gunnar Smoliansky.

Invitation cards, catalogues, etc.

Postcards, letters, etc. - family and friends.

Documents from early years, memory baby book, photos, confirmation photo, school reports from PUB, etc.

Correspondence with museums, art schools, and authorities.

Provenance: The artist's family.

Literature: Parts of the archive were loaned to Douglas Feuk, and sketches among other items are published in “Dick Bengtsson”, SAK 2002.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

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325. Jan Håfström (Sweden, 1937–) .

Signed Jan H underneath. Painted plywood, plastic grass, plastic trees. 36.5 x 25 x 9 cm.

Provenance: The family of Dick Bengtsson.

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890

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326. Eva Löfdahl (Sweden, 1953–) Untitled.

Signed Eva Löfdahl and dated -85 verso. Canvas 50 x 71 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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327. Jan Håfström (Sweden, 1937–) “Kurtz”.

Signed Jan Håfström and dated 2001 verso. Pannå 100 x 100 cm.

Provenance: Private Collection, London.

Via Niklas Belenius to a private collection, Sweden.

Exhibitions: Liljevalchs Konsthall, Stockholm, “Mörkrets Hjärta”, 18 April - 21 May 2009.

Literature: Mårten Castenfors (ed.), “Jan Håfström - Book of the dead”, 2009, illustrated full-page p. 154. Johanna Ekström & Niclas Östlind, “Jan Håfström The Eternal Return”, 2008, illustrated p. 5.

Estimate: SEK 100 000 – 125 000 / EUR 8 850 – 11 060

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328. Yngve Rådberg (Sweden, 1968–) “The Connection”.

Signed Yngve Rådberg verso. Executed in 2006. Oil on acrylic glass in frame 46 x 60 cm.

Provenance: Galleri Gunnar Olsson, Stockholm.

Exhibitions: Galleri Gunnar Olsson, Stockholm, “Yngve Rådberg”, 23 November - 17 December 2006.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

329. Harry Anderson (Sweden, 1986–) Untitled.

Signed Harry and dated -18. Glazed ceramic, height 53 cm.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

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330. Peter Frie (Sweden, 1947–) “Abstract painting with Landscapes 2”.

Signed P Frie and dated 2016. Oil on canvas/wood/glass, including frame 90 x 170 cm.

Provenance: Gallerie Arnstedt, Östra Karup.

Estimate: SEK 150 000 – 200 000 / EUR 13 270 – 17 690

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Karin Broos “Hoppet” 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 boy about to jump, or perhaps rather hesitating before his leap, accompanied by a dog at the water’s edge. 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 external reflection of nature, but also as a place for spiritual reflection and introspection.

The shiny surface lures the viewer into a space of uncertainty, a space between the known and the unknown. In “Hoppet”, Broos moves beyond the clearly depicted motifs and opens up for a deeper, almost philosophical, reflection on what it means to be human - and in this case a child - in an existence that is always in flux. The boy’s hesitant steps suggest both playfulness and seriousness, 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. 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 put 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.

330A. Karin Broos (Sweden, 1947–) “Hoppet”.

Signed Karin Broos and dated 2009 verso.

Acrylic on canvas 105 x 165 cm Provenance: Galleri Christian Larsen, Stockholm.

Literature: Ingela Lind and Hasse Persson, “Karin Broos - Reflections”, 2011, illustrated full-page p. 45.

Estimate: SEK 150 000 – 200 000 / EUR 13 270 – 17 690

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331. Linn Fernström (Sweden, 1974–) “Ryggskydd”.

Signed Linn Fernström and dated 2009 verso. Ink and oil pastel on paper 80 x 120 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, Stockholm, “Linn Fernström”, 9–21 February 2010.

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850

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332. Jens Fänge (Sweden, 1965–) “Stilleben”.

Signed Jens Fänge and dated 2004 verso. Canvas 130 x 160 cm.

Provenance: Schaper Sundberg Gallery, Stockholm.

Exhibitions: Arnstedt & Kullgren, Östra Karup, 2007.

Estimate: SEK 100 000 – 125 000 / EUR 8 850 – 11 060

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333. Mats Gustafson (Sweden, 1951–) “Swan D”.

Executed in 2009. Pastel, sheet 73 x 89 cm.

Provenance: Glenn Horowitz Bookseller, New York.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

334. No lot

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335. Kristina Jansson (Sweden, 1967–) “Bird Blind”.

Signed Jansson and dated -14 verso. Oil on canvas 155 x 215 cm.

Exhibitions: Borås Konstmuseum, “Spell Bound”, 24 January - 2 April 2015.

Estimate: SEK 150 000 – 200 000 / EUR 13 270 – 17 690

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336. Johan Furåker (Sweden, 1978–) “Visiting Palazzo Venier dei Leoni”.

Signed Johan Furåker and dated - 14 verso. Panel 50 x 70 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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Jockum Nordström

(Jockum Nordström in an interview with Laird Borrelli-Persson for Vogue, 2017)

in Chest of Drawers is characteristically split in two. The bright left half contains cut-out figures, piles of boards, a horse, and a house placed among the treetops. It is a scene full of dreams and plans. In the right half, the finished chest of drawers stands out against a pitch-black background. An odd solitary figure takes in the piece of furniture with a somewhat surprised expression on his face. The silhouette of the recurring tree is visible behind him, and its crown has grown to obscure the house on the horizon.

The work Chest of Drawers belongs to Jockum Nordström’s series of collages executed in his well-known and typical mixed media technique; figures and characters cut out of watercoloured paper with elements of pencil. His works on paper can be read as a storyboard, a comic-like sequence representing the shots planned for a film. All the action takes place simultaneously within the frozen frames of his stills. The composition

Jockum Nordström’s intriguing and witty collages have for decades captivated collectors and art critics around the world. His playful, tableau-like environments appear as scenes filled with unique figures, animals, architecture, furniture, musical instruments, and other props.

Everything varies in scale and composition. The naivety and mischief in Jockum Nordström’s art are sincere yet simultaneously double-edged.

- "I have a lot–a lot–of books, a lot of records all over. When I make a collage, I cut first. I’m always cutting, and cutting for me is relaxing. I started with this maybe 25 years ago. You cut, and then you paint, and if a [piece] is not the right shape, you cut a little more; take off the head, make a new head. There’s a lot of freedom, it’s playful."

In the cracks of carefreeness, traces of ennui and sometimes death anxiety seep through.

337. Jockum Nordström (Sweden, 1963–) “Chest of Drawers”.

The artist has a classical education from his time at Konstfack in Stockholm from 1981 to 1985 and the Royal Institute of Art in Stockholm from 1985 to 1990. Nordström uses this education as his own unique palette, and within his artistry lies a universe of paintings, drawings, paper sculptures, children's books, illustrations, and poetry collections.

Provenance: Zeno X Gallery, Antwerp. Private Collection, Stockholm.

Jockum Nordström is one of a small group of Swedish artists who have achieved significant international success. He is affiliated with the prestigious galleries David Zwirner (New York), Zeno X (Antwerp), and Anthony Meier (San Francisco). In Sweden, he is represented by Galleri Magnus Karlsson.

Signed Jockum and dated 2008. Watercolour and collage on paper 50 x 139 cm.

Exhibitions: Zeno X Gallery, Antwerp, “Wry”, 19 March - 2 May 2009.

Estimate: SEK 150 000 – 175 000 / EUR 13 270 – 15 480

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338. Britta Marakatt-Labba (Sweden, 1951–) Untitled.

Signed Britta Marakatt-Labba and dated -90. Watercolour, 40 x 51.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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339. Kristoffer Zetterstrand (Sweden, 1973–) “The Grove”.

Signed Kristoffer Zetterstrand and dated 2014 verso. Panel 47 x 41 cm.

Provenance: Stene Projects, Stockholm, acquired by the present owner in 2014.

Exhibitions: Stene Projects, Stockholm, “Among The Remnants”, 4 December 2014 – 10 January 2015.

Estimate: SEK 10 000 – 15 000 / EUR 890 – 1 330

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340. Dan Wolgers (Sweden, 1955–) “L”, from the series “A-O”.

Signed Dan Wolgers and dated 2017 verso. Frame dimensions 77 x 57 cm.

Depth 13.5 cm.

Provenance: Bohman-Knäpper, Stockholm.

Exhibitions: Bohman-Knäpper, Stockholm, “A-O/Nattfiskare”, 11 November - 17 December 2017.

Literature: Bohman-Knäpper, Stockholm, “A-O/Nattfiskare”, 2017, illustrated in the exhibition catalogue.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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341. Håkan Rehnberg (Sweden, 1953–) Untitled.

Signed Håkan Rehnberg and dated 2002 verso. Oil on acrylic glass 67 x 75 cm.

Provenance: Sivert Oldenvi Collection, Stockholm. Private Collection, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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342. Viktor Rosdahl (Sweden, 1980–) “Pink”.

Signed Viktor Rosdahl and dated 2016 verso. Canvas 80 x 80 cm.

Provenance: Arnstedt & Kullgren, Östra Karup.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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343. Clay Ketter (Sweden, 1961–) “Trace Study”.

Signed Clay Ketter and dated 1990 verso. Mixed media on panel 60 x 60 cm.

Provenance: Bo Siesjö Collection.

Stockholms Auktionsverk, Auction Bo Siesjö Collection, Stockholm, 2010.

Private Collection, Sweden.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

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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.

344. 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 300 000 – 400 000 / EUR 26 530 – 35 370

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344A. Torsten Andersson (Sweden, 1926–2009.) “Statue”.

Signed Torsten Andersson and dated -89 verso.

Canvas 128 x 128 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Private Collection, Stockholm. Acquired from the above by the present owner.

Exhibitions: Galleri Lars Bohman, Stockholm, Art Forum Berlin, 1998.

Literature: Lars Bohman Gallery, “Torsten Andersson Statues”, 1998, illustrated.

Estimate: SEK 175 000–200 000 / EUR 15 900–18 100

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Torsten Andersson Torsten Andersson was one of Sweden’s most enigmatic artists, celebrated by critics and colleagues, an inspiration to many, but also known for destroying much of what he created. His paintings may sometimes appear hasty, but for each painting, he often made hundreds of sketches and trial paintings. Then he would burn everything that didn’t meet his standards. His self-criticism led him to ”obliterate” paintings that had been completed for many years and exhibited in several museums and art galleries. Lars Nittve, as the director of the Moderna Museet, wrote the following: ”Out of a hundred working drawings, ninety are destroyed. The surviving ten drawings give rise to a hundred new ones, of which ninety are destroyed. Twenty drawings remain. Sixteen of these are destroyed.

Four remain. They continue in the working process, become paintings, with no guarantee of survival.”

Torsten Andersson studied at Otte Sköld’s painting school in 1945, at the Royal Danish Academy of Fine Arts in 1947, and from 1946 to 1950 at the Royal Institute of Art in Stockholm, where he was appointed a professor at an exceptionally young age in 1960. He was twice awarded

the Carnegie Art Award: the first prize of one million Swedish kronor in 2008 and the third prize in 1998. He was also awarded the 1997 Schock Prize in Art. In his early paintings, he depicted portraits of abstract objects inspired by nature, seeking to rediscover the possibilities of painting after modernism, in a new era. Slowly but surely, he began to develop his own language and freed himself from predecessors and the prevailing tradition. After many years of silence, in the 1980s, he exhibited a series of paintings of abstract sculptures with a poetic origin. Over time, the motifs became concrete sculptures, and in the early 2000s, his canvases were filled with soft textile forms and symbols. His language evolved and solidified.

In the 1990s, he donated around twenty large paintings to the Malmö Art Museum, which boasts the most significant collection of Torsten Andersson’s art. He is also represented in several important private collections, as well as at the Moderna Museet and the Nationalmuseum in Stockholm and the Helsingborg Museum.

344B. Torsten Andersson (Sweden, 1926–2009.) “Statue”.

Signed Torsten Andersson and dated -89 verso.

Canvas 126 x 126 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Private Collection, Stockholm. Acquired from the above by the present owner.

Exhibitions: Galleri Lars Bohman, Stockholm, Art Forum Berlin, 1998.

Literature: Lars Bohman Gallery, “Torsten Andersson Statues”, 1998, illustrated.

Estimate: SEK 175 000–200 000 / EUR 15 900–18 100

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344C. Torsten Andersson (Sweden, 1926–2009.) “Statue”.

Signed Torsten Andersson and dated -98 verso.

Canvas 126 x 126 cm Provenance: Galleri Lars Bohman, Stockholm.

Private Collection, Stockholm. Acquired from the above by the present owner.

Exhibitions: Galleri Lars Bohman, Stockholm, Art Forum Berlin, 1998.

Literature: Lars Bohman Gallery, “Torsten Andersson Statues”, 1998, illustrated.

Estimate: SEK 175 000–200 000 / EUR 15 900–18 100

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345. Marie-Louise Ekman (Sweden, 1944–) Untitled.

Signed M.L Ekman and dated 1996. Assemblage in plexi box 25.5 x 25.5 x 25.5 cm.

Provenance: Acquired directly from the artist.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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346. Martin Gustavsson (Great Britain, 1964–) “Utan titel (Lee), ur sviten Ipomeia”.

Signed Martin Gustavsson and dated 2005 verso.

Oil on canvas 100 x 140 cm.

Provenance: Galleri Mårtenson & Persson, Stockholm/Båstad.

Exhibitions: Liljevalchs konsthall, Stockholm, Vårsalongen 2007.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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347. Ernst Billgren (Sweden, 1957–) Untitled.

Signed verso. Executed in 1985. Oil on hardboard, mosaic and roe deer horn 54 x 60 x 18 cm.

Provenance: Galerie Lång, Malmö.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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348. Anders Knutsson (USA, 1937–) “110”.

Signed Anders Knutsson. Executed in 1978.

Oil and wax on handmade French paper 66 x 51 cm.

Provenance: Galleri Mårtenson & Persson, Stockholm.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

349. Peter Frie (Sweden, 1947–) Untitled.

Signed Peter Frie and dated -01 verso.

Oil on panel in artist's frame 37.5 x 41.5 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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350. Max Mikael Book (Sweden, 1953–) “Figure”.

Signed MM Book and dated 1984 verso. Panel 52 x 71 cm.

Provenance: Galleri Wallner, Malmö.

Exhibitions: Galleri Wallner, Malmö, “Max M. Book”, 1–28 October 1984.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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Ola Billgren Monica Nieckels writes this about Ola Billgren: ”Ola Billgren, 1940–2001 was, during his years as a painter, the artist who first and most notably formulated the relationship between art as language and reality. He has been referred to as a theorist and a sensualist, and he was able to capture the historical and contemporary upon one singluar canvas.

After the era of experimental period of photorealism between the 60s and 70s, Billgren became overwhelmed by large scale compositions and impressionistic colour schemes of romanitc painting in the 1980s.

According to his titles, there hides city landscapes beneath his colours. We see the city as abstraction or dream, only sensed through the feeling and atmosphere that have lingered. The perspective is distant and slightly from above, as seen from an airplane descending that has just emerged from a cloud.

A painting that, like music, evokes a specific feeling during a given time and allows the viewer/listener to project their own images, passions, and dreams. The city and landscape become increasingly clear and intense for the observer as the process progresses over time. The eye’s limited field of vision prevents the gaze from penetrating through the color as the feeling can. Through the language of art, other pathways into the painting and the image are opened that sight alone cannot achieve. The white city entices us behind its veils.”

The late 1980s was an important period in the artist’s development, where he continued to deepen his work with painting, combining abstraction and realism in a unique way. As Nieckels writes, his painting transitioned from the photorealistic style of the 1960s and 70s to a more romantically influenced painting style in the 1980s.

He created atmospheric and dreamlike cityscapes, where some parts of the landscapes were sharp and detailed, while others dissolved into color and light. Many of his works from the 1980s demonstrated a fascination with the poetic and enigmatic nature of urban environments, where silence and stillness became prominent features.

An example of this style is ”Townscape, SPA,” which clearly shows his characteristic blend of photorealism and abstraction. These works often evoked a sense of distance, conveying both nostalgia and contemporaneity.

351. Ola Billgren (Sweden, 1940–2001) “Townscape, SPA”.

Signed Ola Billgren and dated 1988. Canvas 122 x 167.5 cm.

Provenance: Karl-Erik Johanssons Collection, Sweden. Bukowski Auktioner, auktion 626, Contemporary Art + Design, 10 November 2020, lot 22.

Literature: Karl-Erik Johansson, “Samla sitt liv, Konstälskarens bilderbok”, 2010, illustrated fullpage p. 59.

Estimate: SEK 400 000 – 500 000 / EUR 35 370 – 44 210

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352. Lars Englund (Sweden, 1933–) “Stabil”.

353. Ernst Billgren (Sweden, 1957–) “Släktens historia”.

Signed Englund and dated 2012. Lacquered steel.

Height 54.5 cm.

Signed with monogram EB. Executed in 2011. Oil on panel in artist's frame 107 x 142 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

Provenance: Lars Bohman Gallery, Stockholm.

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Estimate: SEK 125 000 – 150 000 / EUR 11 060 – 13 270

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354. Lars Lerin (Sweden, 1954–) Untitled.

354A. Andreas Eriksson(Sweden, 1975–) “Alm 050115 “.

Signed Lars Lerin and dated Svalvaer 29.3.93. Watercolour 77.5 x 57.5 cm.

Signed Andreas Eriksson and dated 2001-05 verso. Canvas 75 x 60.5 cm

Provenance: Bukowski Auktioner, Höstens Moderna Auktion 553, 2009, lot 524.

Provenance: Bukowski Auktioner, Höstens Moderna Auktion 553, 2009, lot 524.

Estimate: SEK 100 000 – 125 000 / EUR 8 850 – 11 060

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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355. Mark Frygell (Sweden, 1985–) “Still Life III.”.

Signed Mark Frygell and dated 2019 on the reverse.

Oil on canvas 100 x 80 cm.

Provenance: Andréhn-Schiptjenko, Stockholm.

Exhibitions: Andréhn-Schiptjenko, Stockholm, “Mark Frygell”, 2 May - 20 June 2019.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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356. Peter Frie (Sweden, 1947–) Untitled.

Signed P Frie, also signed PF and numbered 4/4.

Bronze. Height 35.5 cm.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

357. Rolf Hanson (Sweden, 1953–) 'Otauna'.

Signed and dated Rolf Hanson -90 verso. Oil on panel 100 x 122 cm.

Estimate: SEK 100 000 – 125 000 / EUR 8 850 – 11 060

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Linn Fernström Linn Fernström is an artist of contrasts. Extremes find room on her large canvases; beauty meets the grotesque, the idyllic clashes with the frightening, the delicate mixes with the powerful, and the large interacts with the small. Fernström's visual world is reminiscent of a dream, eerie and pleasurable at the same time. With light brushstrokes, a vibrant palette, and an airy composition, themes such as death and love are addressed. In this powerful composition, Linn Fernström rests on an art historical foundation where her way of viewing the world and her sensitivity to details create magic from the mundane. She combines elements from earlier works with new impressions of places and people from her travels. Like a child's unpretentious way of experiencing their surroundings, the artist lets life's marvels generate dreams and fantasies in a recognizable environment.

Karin Holm writes about the exhibition "Tvåstigsvandra i solsystem" in Hallands Nyheter on 19 July 2010.

"Successful Linn Fernström has over the years returned to Galleri Arnstedt, where she first exhibited as a newly graduated from the Art Academy in 2000. This year she calls the exhibition 'Tvåstigsvandra i solsystem' where drawings and paintings are in dialogue.

– It's a new way for me to work. I got inspiration during a trip to Houston when I saw images by the American artist Cy Twombly, she says before the opening in the former mill in Östra Karup.

In the bright rooms with rough concrete floors, the works give the impression of lifting off the walls. Linn Fernström's familiar flowers and small creatures contrast against the graphite drawing, and the images gain a narrative depth. As before, the artist herself appears in some works, but she also chooses to portray others, often people she has captured with her camera on trips. Animals also continue to play a central role."

Bukowskis has previously sold one of the drawings, a detail from "Bland ruiner" (Among Ruins), a portrait of the woman in the lower right of the canvas, executed in charcoal/graphite on paper 66 x 50 cm.

358. Linn Fernström (Sweden, 1974–) “Bland ruiner”.

Signed Linn Fernström and dated 2010 verso.

Mixed media on canvas 155 x 200 cm.

Provenance: Gallerie Arnstedt, Östra Karup.

Exhibitions: Galleri Arnstedt, Östra Karup, “Tvåstigsvandra i solsystem”, 2010.

Estimate: SEK 300 000 – 400 000 / EUR 26 530 – 35 370

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Jockum Nordström Jockum Nordström is an artist who constantly plays with the boundaries between fantasy and reality. His work, through drawings, collages and paintings, contains a world of its own where every line and gesture has its function and meaning. There is a sense of both playfulness and seriousness in his work, where the naïve and the surreal meet, and where his sensual materials - water tones, organic shapes and flows of colour draw the viewer into a dreamlike world of stories.

In the auction’s work Bubu, we get a direct insight into Jockum Nordström’s universe. The title Bubu is a reminder of the rebellious spirit of Dadaism, and the two open coffins in the work raise a question: Have the figures

escaped from their coffins, or are they on their way there? This mystery is characteristic of Nordström’s art, where nothing is entirely predictable and the narrative constantly changes depending on the viewer’s eyes.

Jockum Nordström is a master at balancing the childlike and the adult, the supernatural and the mundane. His drawings and paintings, with their muted colours and tactile materials, offer a sense of intimacy, while at the same time telling a larger, more universal story.

359. Jockum Nordström (Sweden, 1963–) “Bubu”.

Signed Jockum and dated 12. Collage, watercolour, pencil on Japan 64 x 203 cm.

Provenance: David Zwirner, New York.

Collection François Meyer, Lausanne, Schweiz. Acquired from the above 2012.

Sothebys, Paris, “Collection François Meyer : A Colorful Passion”, 26 September 2023, lot 25.

Private Collection, Sweden. Acquired from the above.

Literature: Marc Donnadieu (ed.), “Jockum Nordström: All I Have Learned and Forgotten Again”, 2013, illustrated p.52-53.

Estimate: SEK 175 000 – 200 000 / EUR 15 480 – 17 690

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360. Barbro Bäckström (Sweden, 1939–1990) Untitled.

Iron net and painted plaster. Height 57 cm, width 25 cm.

Provenance: Galerie Aix, Stockholm. Bukowski Auktioner, Moderna Höstauktionen 2003, lot. 529:588.

Estimate: SEK 35 000 – 40 000 / EUR 3 100 – 3 540

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361. Ola Billgren (Sweden, 1940–2001) “Studio, augusti II”.

Signed Ola Billgren and dated -95 on verso. Canvas 47.5 x 35.9 cm.

Provenance: Galleri Engström, Stockholm. Private collection, Stockholm.

Exhibitions: Galleri Engström, Stockholm, “Ola Billgren - Om färgen”, 2–31 March 1996.

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850

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362. Dan Wolgers (Sweden, 1955–) “Torka tårar” (Våta kinder).

Signed Dan Wolgers and dated 2004. Wood, metal, and toilet paper roll.

Height 18 cm. Mounted on a wooden base 17 x 17 cm. Plexi podium 40 x 40 x 46 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Exhibitions: Galleri Lars Bohman, Stockholm,”Dan Wolgers”, 9–30 April 2005.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

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363. Martin Wickström (Sweden, 1957–) “J.C. II”.

Signed Martin Wickström and dated 1995. Light box 24.5 x 02.5 x 14 cm.

Provenance: A gift from the artist in 1995, thence inherited.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070

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364. Astrid Sylwan (Sweden, 1970–) “Prism”.

Signed Astrid Sylwan and dated 2014 verso.

Acrylic on canvas 120 x 130 cm.

Provenance: Galleri Andersson/Sandström, Stockholm.

Estimate: SEK 60 000–80 000 / EUR 5 440–7 250

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365. Barbro Bäckström (Sweden, 1939–1990) Untitled.

Signed Barbro Bäckström and dated 1970. Mixed media 49 x 56.5 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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Lukas Göthman Lukas Göthman’s artistry focuses on series of journeys, self experienced selected realities or made up by fiction and dreams. His works are often featured as texts; short stories, a title or a phrase repeated to create an abstract composition.

very private world of thought or emotion in which viewers are immersed through the intensity of the colour scheme and expressive texts in his works. (Bjökholmen Gallery, Stockholm).

Göthman investigates the visual effect of words and letters. Sentence by sentence build an intriguing visual composition set over a monocrome of colour. Curves and impressions of varying fields of depth are realised following a simple set of self imposed rules. Other series of works investigate the landscape, creating dreamlike illusions. It is the artist’s

366. Lukas Göthman (Sweden, 1970–) “Fragile love and a lot of time to take it easy in hell”.

Signed Lukas Göthman and dated 2007 verso. Canvas 200 x 180 cm.

Literature: Lukas Göthman, Hydra Förlag AB, Stockholm, 2007, illustrated on the dust-jacket.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

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367. Lars Lerin (Sweden, 1954–) Untitled.

Signed Lars Lerin and dated 2016. Watercolour 75 x 58 cm.

Estimate: SEK 125 000 – 150 000 / EUR 11 060 – 13 270

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Elis Eriksson The auction’s work, ‘nått av låd, innehåll (nr 15)’ from 1962, is part of the series of 30 ‘boxes’ with collage and typewriting from the exhibition ‘5 kronor å sex öre’ at Galerie Burén in 1963. The series is an intricate diary, a camouflaged documentation of a private sequence of events, involving the break-up of a thirty-year marriage and the birth of a daughter in a new and short-lived relationship.

The details and room plans of three different apartments in Stockholm are described in great detail. Arrows mark movements within the rooms and between the home and the studio at Döbelnsgatan 63, Gottes’ studio, which he borrowed from Bertil Gottsén, at Bastugatan 12B and Rosengatan 1, where the artist with whom Eriksson socialised lived. Cut-out strips of typewritten text form a poetic carpet of thoughts and snippets of conversations that were held. Some words are coded and interspersed in the texts. The orange that is often mentioned is the growing foetus. The fox that appears several times in the work in question is a special fox boa with a buckle. The fact that all the boxes in the series form a whole is confirmed by references to other boxes in the works. For example, ‘see front cover of no. 14’ and ‘the box is on a chair under the disc of no.14 ...detail.’

The peculiar way of writing is one of the most distinctive features of Eriksson’s oeuvre.

It is a language game, in which words are axed, spelt as they sound and stacked like dominoes one after the other. The artist himself never wanted to describe this language as elaborate, but claimed that the expression came to him during his work.

At this time in the early 1960s, avant-garde and experimental poetry was flowing, both delighting and upsetting its readers. Eriksson was one of the participants in the artist group Svisch, which travelled around the country performing literary happenings and holding exhibitions of concrete poetry. The group also included Öyvind Fahlström, Bengt Emil Johnson and Carl Fredrik Reuterswärd. In concrete poetry, in addition to their semantic meaning, words also have a role as components in a visual experience.

Words and sentences are taken apart and strewn across the pages in artistic figurations.

The typewriter is used extensively, and edits and overwrites result in impenetrable carpets of letters and words. Other poems were designed as pure image collages, some were theatre texts or acoustic experiences. The boundaries between genres and art forms were erased.

Jan Olov Ullén writes in an underline in SvD ‘Poetry that combined seriousness with playfulness’ 2005-06-23: ‘But it was certainly a wonderful time, when Hans Alfredson and Tage Danielsson developed Svenska Ord, Lasse O’Månsson challenged with fool programmes on the radio and Karl Erik Welin blew up a piano at Moderna museet.

Framed by poets, who sometimes semaphore their texts, sometimes perform them in chorus.’

With the radical politicisation of the cultural climate that occurred in the mid-1960s, concrete poetry almost completely disappeared. Elis Eriksson continued with the image and the language linked together and in 1965 came the story of ‘Indijaner å en kåvboj’, a series of drawings that told the fantastic and funny story of the hero Pavan.

367A. Elis Eriksson (Sweden, 1906-2006.) “Nått av låd. innehåll (nr. 15)”.

Signed e.e. Executed in 1962. Collage and mixed media in box 21.5 x 30 x 4 cm.

Exhibitions: Galleri Burén, Stockholm, “5 kronor och 6 öre”, 1963.

Literature: Teddy Hultberg, elis ernst eriksson - “100 år av åtlydnader”, Schultz förlag, 2006, illustrated full page p. 205, listed in the list of works with no 118.

Estimate: SEK 50 000–60 000 / EUR 4 530–5 440

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368. Lars Lerin (Sweden, 1954–) “Lofoten”.

Signed L Lerin and dated 1998. Canvas laid on paper panel 23.5 x 32.5 cm.

Provenance: A gift from the artist to the present owner.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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369. Viktor Kopp (Sweden, 1971–) “Kyss”.

Signed V. Kopp and dated 2004 verso. Canvas 200 x 200 cm.

Provenance: Kabusa Konsthall via Galleri Thomas Wallner to the present owner.

Exhibitions: Passagen, Linköping, “Viktor Kopp”, 2013.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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370. Hans Isaksson (Sweden, 1962–) “SabotAge (Familjen) I”.

Executed in 2022. Painted wood, 186 x 25 x 25 cm including pedestal.

Provenance: Björkholmen Gallery, Stockholm.

Exhibitions: Björkholmen Gallery, Stockholm, “Hans Isaksson The Silence/Tystnaden”, 22 January - 5 March 2022.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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Lot 371, 372 and 373 These lots are sold in support of Mentor, a non-profit empowering youth aged 13–19 through role models, coaching, and motivation. Mentor’s programs equip young people with the skills to face challenges and reach their potential. Founded in 1994 by Her Majesty Queen Silvia of Sweden, in partnership with the World Health Organization, Mentor has worked globally for 30 years to prevent substance abuse and promote youth wellbeing.

371. Alfred Boman (Sweden, 1981–) “Mother of Secrets”/Young Tung/Starvation”.

Signed Alfred Boman and dated 2014 verso. Mixed media on canvas in artist's frame 193 x 147 cm.

Provenance: Galerie Nordenhake, Stockholm. Acquired in 2014.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

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372. Matthias van Arkel (Sweden, 1967–) Untitled.

Signed and dated MvA 2020 verso. Canvas 140 x 120 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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373. Cory Arcangel (USA, 1978–) “Timeless Standard”.

Signed © Cory Arcangel and dated 2013 diagonally across image.

Inkjet print on canvas 180 x 127 cm.

Provenance: Lisson Gallery, London.

Bukowski Auktioner, Contemporary & Design, 2015, lot 361.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

374. Jonathan Lasker (USA, 1948–) Untitled.

SIgned J. Lasker and dated 85 verso. Panel 30.5 x 23 cm.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

375. Jonathan Lasker (USA, 1948–) “Untitled, Study”.

Signed J. Lasker and dated 1989 verso. Oil on paper 12 x 15 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Exhibitions: Galleri Lars Bohman, Stockholm, 1991.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

376. Saint Clair Cemin (Brazil, 1951–) Untitled.

Sculpture/chandelier. Signed Cemin and dated 98. Numbered 41/100. Foundry mark from 'Empire Bronze Art Inc. NYC'. Bronze. Height 48 cm, depth 24 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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377. Donald Baechler (USA, 1956–2022) Untitled.

Signed DB and dated 88. Watercolour on paper 29 x 20.5 cm.

Provenance: Anders Tornberg Gallery, Lund.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

378. Richard Aldrich (USA, 1975–) “Untitled”.

Signed Richard Aldrich and dated 2006 verso.

Oil and wax on canvas 46 x 36 cm.

Provenance: Roger Björkholmen, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

379. Hollis Sigler (USA, 1948–2001) “She tried Disposing of the evidence”.

Executed in 1981. Oil pastel on paper 83 x 68 cm.

Provenance: Barbara Gladstone Gallery, New York.

Estimate: SEK 10 000 – 12 000 / EUR 890 – 1 070

Artist Yves Klein. Photo by Frank Hudson/ANL/REX (1416015a).

Yves Klein Yves Klein (1928-1962) was one of the leading figures of the Neorealism art movement and is best known today for his Klein blue objects. During his all-too-brief life, he was also a pioneer of performance art, the most subversive art movement after Cubism.

He conquered the azure sky by simply claiming to have invented its colour, International Klein Blue (IKB), which he did in 1957. In a 1959 lecture at the Sorbonne, Klein said that the blue monochromes are recognisable and similar in appearance, yet unique and different from each other.

Klein used the blue colour as a means to capture immateriality and infinity. His celebrated, more-blue-than-blue hue, radiates colourful waves of blue that propagate through his oeuvre. Klein’s innovative and almost spiritual art form broke down boundaries between conceptual art, sculpture, painting and performance. His works, deeply characterised by the dualism between action and ritual, continue to influence and fascinate art lovers worldwide.

He set out on his ‘adventure into monochrome’, influenced by Japanese philosophy and art. By combining the rigor and discipline of judo with the free and provocative expression of art, Klein wanted to ‘liberate colour from the prison of lines’. One interpretation of what drove Klein was the ‘allness’. To be able to embrace and own the beautiful.

Klein was initially a dedicated practitioner of the martial art of judo. He received his black belt at the age of 24 from the Kôdôkan Institute in Tokyo in 1952. He was the only Westerner to achieve such a level of discipline and skill at the time. Klein continued his passionate career as a practitioner of judo, teaching at the Spanish Judo Federation in Madrid, writing the book ‘Le Fondements du Judo’ (The Foundations of Judo), and opening his own judo school in Paris.

It was only then, back in Paris in 1954, that he began to devote himself wholeheartedly to his second passion in life: art.

Between May 1954 and June 6, 1962, the date of his death, Yves Klein dedicated his life to groundbreaking art that marked his era and still captivates audiences today.

379A. Yves Klein (France, 1928–1962) “Untitled Blue Monochrome (IKB 154)”.

According to label verso by Mme Rotraut Klein-Moquay, signed Yves and dated 59. Also signed with the artist’s star monogram. Dry pigment and synthetic resin on gauze laid down on panel 14 x 18 cm. Plexi glass box 29 x 24.6 x 5.6 cm.

Provenance: Michel Couturier & Cie, Paris. Private Collection, Stockholm.

Literature: Paul Wember, Yves Klein, Cologne, 1969, p. 74, no. IKB 154.

Estimate: SEK 2 000 000 – 4 000 000 / EUR 176 840 – 353 670

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380. 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 100 000 – 125 000 / EUR 8 850 – 11 060

381. Niels Trannois (France, 1976–) “Theft Lovers (When Panda bear came to its end)”.

Signed by Niels Trannois and dated 2010 verso.

Oil and Xerox copy on wooden panel, 124 x 99 cm.

Provenance: Galerie Nordenhake, Stockholm.

Exhibitions: Galerie Nordenhake, Stockholm, “Time's Arrow”, 6 May - 24 June 2010.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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382. Rafaël Rozendaal (Netherlands, 1980–) “Into Time 14 04 04”.

Signed Raphaël Rozendaal and dated 2014 verso. Lenticular painting 120 x 90 cm. A certificate executed by Steve Turner accompanies the lot.

Provenance: Steve Turner, Los Angeles.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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383. Klaus Staudt (Germany, 1935–) “Jazz - time”.

Signed Klaus Staudt and dated Nov -99 on label verso.

Painted wood and plexi glass, 70 x 70 x 5.5 cm.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

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384. Klaus Staudt (Germany, 1935–) “In Good Order”.

Signed Klaus Staudt and dated 1999 on label verso.

Painted wood and plexi glass 49 x 49 x 5 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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385. Gottfried Honegger (Switzerland, 1917–) “P. 1000”.

Signed Honegger and dated 1988 verso. Canvas 24 x 144 cm.

Provenance: Konstruktiv Tendens, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

Hermann Nitsch Hermann Nitsch was an Austrian artist and one of the most prominent figures in the Viennese Actionism movement, an avant-garde artistic movement that emerged in Vienna in the 1960s and was active until the early 1970s. It became known for its often provocative performances and art actions that challenged conventional ideas about art, morality, and society. Nitsch's artistic work is characterized by a strong connection to rituals, symbolism, and physical actions, often in the form of performance art and abstract paintings. His works explore themes such as life, death, pain, and suffering, and he frequently used blood, meat, and other bodily materials in his works to provoke and explore these existential subjects.

"Schüttbild" from 1983 is one of Nitsch's so-called action paintings, marked by his unique and powerful style where paint is thrown, spilled, and smeared across the canvas. The term "Schüttbild" roughly translates to "throw painting" or "pouring painting," and the technique involves the artist pouring or throwing paint over the surface in a raw and impulsive manner, giving the painting an energetic and dynamic feel. Hermann Nitsch began developing his own form of action painting in the 1960s, in conjunction with his activity within Viennese Actionism.

Action painting for Nitsch was an extension of his interest in ritual actions and physicality within art. Inspired by abstract expressionism, where the act of painting itself became central, Nitsch created his own version by physically throwing or pouring paint onto the canvas. For him, painting became a ritual and bodily act that was as significant as the final artwork itself.

386. Hermann Nitsch (Austria, 1938–2022) “Schüttbild”.

Signed Hermann Nitsch and dated 1983 on the stretcher verso. Oil on canvas 105 x 80 cm.

The work is accompanied with a certificate of authenticity issued by The Nitsch Foundation.

Provenance: Galerie Biedermann, Munich.

Private Collection, Sweden. Acquired from the above in March 2001.

Estimate: SEK 300 000 – 400 000 / EUR 26 530 – 35 370

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387. Leon Tarasewicz (Poland, 1957–) Untitled.

Signed L. Tarasewicz and dated Värnanäs 1985 verso.

Canvas 148 x 170 cm.

Provenance: Galerie Nordenhake, Stockholm.

Estimate: SEK 130 000 – 150 000 / EUR 11 500 – 13 270

388. Arman (Armand Pierre Fernandez) (France, 1928–2005) “Jetons no5 du Casino Muncipal de Nice”.

Signed Arman and numbered 8/50. Accumulation of jetons in resin.

Height 30 cm, not including metal stand. This work is recorded in the Arman Studio Archives New York under number: APA# 8400.75.044.

Provenance: Galleri Zero, Stockholm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

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389. Matthew Palladino (USA, 1985–) Untitled.

Acrylic and ink on paper 76 x 60 cm.

Provenance: Acquired directly from the artist by the present owner.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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390. Kay Rosen (USA, 1943–) “Semi-Colonization”.

Signed Kay Rosen and dated 2005 verso. Colour pencil on paper, 39 x 49 cm.

Provenance: Yvon Lambert, Paris.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

391. Joel Shapiro (USA, 1941–) “Untitled”.

Signed Shapiro and dated 1979. Gouache and c harcoal on paper 44 x 53 cm.

Provenance: Galerie Aronowitsch, Stockholm.

Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 310

392. Saint Clair Cemin (Brazil, 1951–) “Woman's Head”.

Signed Cemin and dated 98. Numbered 2/5. Foundry mark from 'Empire Bronze Art Inc. NYC'. Bronze. Height 10 cm, depth 28 cm, width 17 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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Christo For over 50 years, the two artists Christo (1935-2020) and Jeanne-Claude (1935-2009) worked together.

Their gigantic and astonishing art projects of urban and landscape elements made them world famous. They mastered the entire creative process from conception and documentation to realization.

Through their temporary transformations, Christo and Jeanne-Claude wanted to redefine objects, buildings and landscapes as art, while at the same time expressing a change in the meaning and space of art. To obtain permission to carry out their white wrapping of the Pont-Neuf in Paris, Christo and Jeanne-Claude visited the shops located at the foot of the bridge and convinced the shop owners that the project would be good for their business. At the same time, Christo encouraged the shop owners to write to the then Mayor Jacques Chirac to express their support for the project. When the Pont-Neuf was finally wrapped up in 1985 - after a long period of negotiation and planning (including a 'trial wrap' of another bridge to test its feasibility in practice) - it abruptly changed the face of the city, replacing the historic bridge with a completely alien shape.

Christo and Jeanne-Claude's artistic work is not primarily driven by a desire to make art objects, but also by a need to artistically intervene in a place and create a dialog with its history.

The temporary installations that make up the works themselves are the result of years of preparation, with the methodology and creative process captured in the sketches, photographs and collages that have become works of art in their own right. They all have their own value and document the artistic development of the project.

The work in the auction “The Pont Neuf, Wrapped (Project for Paris)” from 1980 is one such original work.

The temporary work was funded entirely by the artists themselves and ran from 1975 to 1985. Wrapping the Pont-Neuf continued this tradition of successive metamorphoses through a new sculptural dimension, transforming it, for 14 days in September 1985, into a work of art. Ropes held down the fabric against the metal, maintaining the main forms, while emphasizing the proportions and details of the Pont-Neuf, which has united the left and right banks and the Île de la Cité, the heart of Paris, for over 400 years.

393. Christo Vladimirov Javacheff (Bulgaria, 1935–2020) “The Pont Neuf, Wrapped (Project for Paris)”.

Signed Christo and dated 1980. Diptych. Collage on panel, pencil, charcoal, crayon, pastel, tissue, map, photography and bic pen. Mounted in plexi glass frame, 56.7 x 71.7 cm and 28.7 x 71.8 cm. The work is registered in the archives of the Christo and JeanneClaude Foundation.

Provenance: Acquired via Carl Flach, Stockholm.

Estimate: SEK 1 000 000 – 1 200 000 / EUR 88 420 – 106 100

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394. Juan Uslé (Spain, 1954–) “Autonomos”.

Signed Uslé and dated -95 verso. Canvas 56 x 41 cm.

Estimate: SEK 100 000 – 125 000 / EUR 8 850 – 11 060

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395. Not Vital (Switzerland, 1948–) “Cow Dung”.

Signed N.V. Executed 1990–2000. Numbered 238. Bronze 30 x 32 x 2 cm.

Provenance: Galerie Luciano Fasciati, Chur, Switzerland. Private Collection, Sweden.

Acquired from the above in in November 2001.

Exhibitions: Galerie Luciano Fasciati, Chur, Switzerland, “Not Vital - Meine Schafe”, 1–29 April 2000.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

396. Bjarne Melgaard (Norway, 1967–) Untitled.

Signed Melgaard verso. Executed in 2015. Acrylic and oil on plastic 102 x 61 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Exhibitions: Lars Bohman Gallery, “Bjarne Melgaard, Right Here, Right Now”, 21 January - 5 March 2016.

Estimate: SEK 125 000 – 150 000 / EUR 11 060 – 13 270

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397. Saint Clair Cemin (Brazil, 1951–) Sideboard/Sculpture.

398. Tino Stefanoni (Italy, 1937–) Untitled.

Signed Cemin and dated 2000. Numbered 1/1. Bronze, welded red metal and glass. Height 74 cm, length 130 cm, depth 60 cm.

Signed Tino Stefanoni and dated 1990 verso.

Acrylic on canvas 30 x 40 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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Provenance: Galerie Ahlner, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

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399. Leon Tarasewicz (Poland, 1957–) Untitled.

399A. Sandro Chia (Italy, 1946–) “Blue Head”.

Signed Leon Tarasewicz and dated 1998 verso.

Canvas 65 x 65 cm. Marked “WKZ-5333/79/98” verso.

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: Galerie Nordenhake, Stockholm.

Estimate: SEK 70 000 – 90 000 / EUR 6 190 – 7 960

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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 80 000–100 000 / EUR 7 250–9 070

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400. Kiki Smith (Germany, 1954–) “Scapula”.

Signed Kiki Smith and dated 1987 verso. Mixed media on paper 25 x 17.5 cm.

Provenance: Anders Tornberg Gallery, Lund.

Tornberg Collection, Sweden.

Stockholms Auktionsverk, Tornberg Collection, 17 February 2014.

Private Collection, Stockholm. Acquired from the above.

Estimate: SEK 12 000 – 15 000 / EUR 1 070 – 1 330

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401. Philip Taaffe (USA, 1955–) “Untitled (Salmon)”.

Signed P. Taaffe and dated 1992–99 verso. Mixed media on canvas 56 x 86.2 cm.

Provenance: Richard Milazzo, New York.

Private Collection, Sweden. Acquired from the above in 2000.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

402. Rashaad Newsome (USA, 1979–) “What's beef”.

Executed in 2011. Collage on paper 76 x 56 cm.

Provenance: Marlborough Gallery, New York. Private Collection, Sweden.

Acquired from the above.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

403. Michael Kvium (Denmark, 1955–) “A Liar's Back”.

Executed in 2004. Watercolour 33 x 50 cm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

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404. Bjarne Melgaard (Norway, 1967–) “Manic II”.

Signed Melgaard and dated 1998 verso. Canvas 95 x 73 cm.

Exhibitions: Stenersen Museum, Oslo, “Daydreams and Nightmares - Tor Juul Collection”, 11 January - 25 February 2007.

Literature: Stenersen Museum, exhibition catalogue, “Daydreams and Nightmares”, 2007, illustrated.

Estimate: SEK 100 000 – 125 000 / EUR 8 850 – 11 060

405. Jeff Koons (USA, 1955–) “Balloon Dog (Blue)”.

Numbered 507/2300. Porcelain, diameter 27 cm.

Provenance: Published by MOCA, The Museum of Contemporary Art, Los Angeles.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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Jim Dine The painting ”Pinocchio’s Unhappiness About Those He Cares About” is part of Jim Dine’s extensive and deeply personal artistic exploration of the Pinocchio theme, a motif that has become central to his oeuvre.

Like other recurring symbols in Dine’s work—hearts, tools, and brushes—Pinocchio has evolved into a vital element of his artistic language. Through these symbols, Dine delves into profound themes such as love, vulnerability, human flaws, and the intricacies of the creative process.

Dine’s fascination with Pinocchio began in the mid-1990s, heavily influenced by Carlo Collodi’s original, darker version of the tale. For Dine, Pinocchio represents more than just a wooden puppet longing to become a real boy—he sees the figure as a metaphor for the creative process itself. Like Geppetto, who brings Pinocchio to life, Dine views the role of the artist as an alchemical process, where raw materials are transformed into something alive and meaningful. Pinocchio’s character embodies a duality that captivates Dine—on the one hand, innocent and full of longing; on the other, flawed, irresponsible, and at times painfully human. This complexity permeates ”Pinocchio’s Unhappiness About Those He Cares About”, where the painting’s dark tone and title suggest emotional pain and reflection on relationships and responsibility.

Throughout the years, Dine has created numerous works featuring Pinocchio, including paintings, sculptures, and lithographs. Each work, despite the recurring motifs, is unique in its composition and color palette. Dine describes his creative process as one of continuous revision, with layers of paint and texture being added, removed, and altered until the piece reaches its final form. By constantly renewing and reworking his art, Dine imbues his pieces with a sense of movement and evolution, where every brushstroke or fragment of sculpture deepens the themes he explores.

With over 300 exhibitions worldwide, including retrospectives at prestigious institutions like the Whitney Museum of American Art (1970) and the Museum of Modern Art in New York, (1978) Jim Dine has solidified his place as one of the most influential artists of our time. His works are housed in many of the world’s most important art collections, and his exploration of the Pinocchio theme has become a central element of his extensive body of work. ”Pinocchio’s Unhappiness About Those He Cares About” is a powerful example of Dine’s ability to intertwine the personal with the universal, and through his motifs, explore the depth and complexity of the human experience.

406. Jim Dine (USA, 1935–) “Pinocchio's Unhappiness About Those He Cares About”.

Signed Jim Dine and dated 1 Nov 2013 verso. Acrylic and sand on canvas 149.5 x 100 cm.

Provenance: Pace Gallery, New York.

Wetterling Gallery, Stockholm.

Private Collection, Stockholm. Acquired from the above by the present owner.

Exhibitions: Wetterling Gallery, Stockholm, “Hearts of Stone”, 29 May - 27 June 2015.

Estimate: SEK 800 000 – 1 000 000 / EUR 70 740 – 88 420

407. Jonathan Lasker (USA, 1948–) “Untitled, Study”.

Signed J. Lasker and dated 1987 verso. Oil on paper 17 x 12.8 cm.

Provenance: Galleri Lars Bohman, Stockholm.

Exhibitions: Galleri Lars Bohman, Stockholm, 1991.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

408. Per Kirkeby (Denmark, 1938–2018) Untitled.

Signed PK and dated 2000. Gouache on paper 65 x 51 cm.

Provenance: Gallery Bo Bjerggaard, Copenhagen.

Sivert Oldenvi Collection, Stockholm.

Private collection, Stockholm.

Exhibitions: Galleri Gunnar Olsson, Stockholm, 2012.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

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409. Carroll Dunham (USA, 1949–) “Shadow in a Corner V.”.

Signed Carroll Dunam and dated 2004, numbered 3/15. Painted stainless steel with black polyurethane lacquer. Height 23 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

410. Alec Monopoly (USA, 1986–) “I win”.

Signed Alec. Spray paint and acrylic on canvas 61 x 45.5 cm.

Provenance: Mead Carney Fine Art, London.

Estimate: SEK 100 000 – 150 000 / EUR 8 850 – 13 270

411. Matti Kujasalo (Finland, 1946–) “African painting”.

412. Verma Akhilesh (India, 1956–) “Untitled as never before”.

Signed Akhilesh and dated -04 verso. Acrylic on canvas 83 x 113 cm.

Signed Matti Kujasalo and dated -87 verso.

Acrylic on canvas 300 x 60 cm.

Provenance: Gallery Time & Space, Bangalore, India.

Private Collection, Stockholm. Acquired from the above in 2005.

Provenance: Galerie Nordenhake, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

Exhibitions: Gallery Time & Space, Bangalore, India, 2005.

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Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

413. Jean Charles Blais (France, 1956–) Untitled.

Signed Jean Charles Blais and dated 89/90 verso.

Mixed media and collage on paper 208 x 130 cm.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

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414. Yang Maoyuan (China, 1966–) “Romano” from “Look Inside Series”.

Signed Yang Maoyuan. Dated 2005. Edition 1/2 AP. Total edition 5 + 2 AP. Marble. Height 51 cm.

Provenance: Uppsala Auktionskammare, Internationell Kvalitetsauktion, 9–12 November 2021, lot 174. Private Collection, Stockholm. Acquired from the above by the present owner.

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

415. Ross Bleckner (USA, 1949–) Untitled.

Executed in 1990. Watercolour 76 x 55 cm.

Provenance: Mary Boone Gallery, New York. Heland Wetterling Gallery, Stockholm. Acquired in 1990.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

416. Sandro Chia (Italy, 1946–) “One of Her Gods”.

Signed S Chia and dated 88. Green patinated bronze.

Height 41.5 cm, depth 13 cm, width 18 cm.

Provenance: Collins & Milazzo, New York.

Private Collection, Stockholm. Acquired from the above in 1994.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

417. Hunt Slonem (USA, 1951–) Untitled.

Signed Hunt Slonem and dated -83 verso. Canvas 51 x 61 cm.

Provenance: Directly from the artist to the present owner.

Estimate: SEK 40 000 – 60 000 / EUR 3 540 – 5 310

418. Mari Sunna (Finland, 1972–) “Blonde”.

Signed Mari Sunna and dated 2007 verso. Oil on panel, 22 x 20 cm.

Provenance: Galerie Anhava, Helsinki.

Estimate: SEK 8 000 – 10 000 / EUR 710 – 890

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Francesco Vezzoli Mae West is an icon, movie star and sex symbol, who has appeared in Vezzoli’s art before, but also in the work of several other artists. One of his own role models, Salvador Dalí, designed his “The Mae West Lips Sofa” in 1937 so that he could be symbolically encased by the lips of his Hollywood heroine. In the auction, West’s idol portrait is mixed with Vezzoli’s characteristic embroidered tears, collages and a thick gold frame.

Where does his fascination with these female divas come from? In 2009, the exhibition ’Dalí Dalí featuring Francesco Vezzoli’ was shown at Moderna Museet in Stockholm. The curator of the exhibition, John Peter Nilsson, asked him about this: “JPN: Tell us a bit about your obsession with aged female divas. What do they have in common other than that they are women who seem to have lost their former importance because they have grown old?

FV: Artists are divas themselves, and like actresses, they are afraid of aging. Perhaps I saw in those tearful eyes a reflection of my own fears...”

Although Vezzoli works in a range of genres and media, embroidery is one of his key characteristics. While studying at Central St. Martin’s School of Art in London he transformed 20th-century masterpieces by Mark Rothko and Josef Albers into small embroideries. On his return to Italy, he made his first series of films entitled ’An Embroidered Trilogy’ (1997-99). He was inspired by famous actors who embroidered in their spare time and between takes, such as Joan Crawford, Cary Grant and Greta Garbo. In his films, he likes to have his characters, including himself, sit on furniture embroidered by Italian stars or royalty.

The diva embodies the rare, the extravagant and the exceptional. They are constantly on the border between life and theater. The contrast between a person in a position of power, with a career in the spotlight, and a person doing traditional needle and thread work is intriguing. The boundaries are softened, even those between male and female. Similarly, Vezzoli’s films and self-portraits are characterized by the fluidity of gender roles and sexuality, as well as the possibilities and limitations offered to us humans in contemporary popular culture.

419. Francesco Vezzoli (Italy, 1971–) “Ritratto Surrealista di Mae West (l'age d'or)”.

Certificate issued by Galleria Tega accompanies the work. Executed in 2007. Mixed media and collage on canvas 35 x 31 cm including the artist's frame.

Provenance: The Artist's Collection. Galleria Tega, Milan, acquired by the present owner at Art Basel 2011.

Estimate: SEK 300 000 – 500 000 / EUR 26 530 – 44 210

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420. Bruce Houston (USA, 1937–) “Homage to Frank Stella”.

Signed Bruce Houston and dated 1988. Painted wood and plastic lorry.

Height 42 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

421. Nathalie Djurberg & Hans Berg (Sweden, 1978–) “Delights of an Undirected Mind”.

Executed in 2016. Digital animation, 6:40 min. Edition 4/4 +2AP. A signed certificate included in lot.

Provenance: Lisson Gallery, London. Private Collection, Sweden.

Acquired from the above by the present owner.

Exhibitions: Lisson Gallery, London, “Nathalie Djurberg & Hans Berg, Who am I to Judge, or, It Must be Something Delicious”, 30 Mach - 6 May 2017.

Another ex. exhibited. Baltimore Museum of Art, “Nathalie Djurberg and Hans Berg / Delights of an Undirected Mind”, 22 February - 26 May 2019.

Another ex. exhibited. Lisson Gallery, London, “Delights of an Undirected Mind”, 7 August - 28 August 2021. Another ex. exhibited.

Estimate: SEK 125 000 – 150 000 / EUR 11 060 – 13 270

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422. Nathalie Djurberg (Sweden, 1978–) “Hungry Hungry Hippoes”.

Signed Nathalie Djurberg and Hans Berg. Executed in 2007.

Animated film, DVD, 4:19 mins. Edition 4/4 +2 AP. Provenance: Zach Feuer Gallery, New York. Private Collection, New York.

Bukowski Auktioner, Vårens Contemporary & Design 585, 12 May 2015, lot.

357. Private Collection, Stockholm.

Exhibitions: Sint-Lukasgalerie, Brussels, “Nathalie Djurberg”, 2008.

Sammlung Goetz Museum, Munich, “BASE 103”, 2008. The Frye Art Museum, Seattle, “The Puppet Show”, 2009. International Documentary Film Festival, Copenhagen, “CPH:DOX”, 2009. Rubell Family Collection, Miami, “How Soon Now”, 2010. The Goetz Collection at Haus der Kunst, Munich, “Broken. Slapstick, Comedy and Black Humor”, 2014.

Estimate: SEK 125 000 – 150 000 / EUR 11 060 – 13 270

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423. Bjarne Melgaard & Sverre Bjertnaes (Norway, 1976–) “HIV Soldier”.

Signed Bjarne Melgaard and S Bjertnaes, dated 2011.

Mixed media on paper 65 x 49 cm.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

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424. Saint Clair Cemin (Brazil, 1951–) “Jacob and the Angel”.

Signed Cemin and dated 00. Edition 3/5. Foundry mark from 'Empire Bronze Art Inc. NYC'. Bronze. Height 25 cm, depth 14 cm, width 18 cm.

Provenance: Richard Milazzo, New York. Private Collection, Stockholm.

Acquired from the above in 2000.

Estimate: SEK 20 000 – 30 000 / EUR 1 770 – 2 660

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424A. Marta Minujín (Argentina 1959-1989.) “Apolo fragmentado”.

425. Lowell Nesbitt (USA, 1933–1993) “Stairway”..

Signed M. Minujín. Plaster 48 x 39 x 31 cm

Signed L. Nesbitt and dated -71 verso. Canvas 127 x 87 cm.

Estimate: SEK 10 000–15 000 / EUR 907–1 360

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

425A. Christo Vladimirov Javacheff (Bulgaria, 1935–2020) “Package on hand truck (Project)”.

Signed Christo and dated 1973. Charcoal, pencil, fabric, string, staples, cardboard. Mounted in plexi glass frame 77 x 59 cm. The work is registered in the archives of the Christo and Jeanne-Claude Foundation.

Estimate: SEK 300 000–400 000 / EUR 27 200–36 300

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425B. Niki de Saint Phalle (France 1930–2002) “Tir” from Édition MAT 64.

Edition MAT collection 1964. Signed Niki de Saint Phalle and numbered 91/100 on label verso. Measurements including frame 73 x 55 cm.

Estimate: SEK 175 000–200 000 / EUR 15 900–18 100

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Louise Bourgeois The ’Femme Maison’ (1946–47) series of paintings by French American artist Louise Bourgeois address the question of female identity. In these paintings, the heads and bodies of nude female figures have been replaced by architectural forms such as buildings and houses. ’Femme Maison’ translates from the French as ‘housewife’ or literally, ‘woman house’. More than 20 years later the series sparked a collaboration between gallery owner Maria Fluxà and Louise Bourgeois. The Spanish gallery owner and collector Fluxà first encountered Bourgeois’s work at the 1982 MoMA retrospective and felt an emotional connection to the ’Femme Maison’. ’When I discovered Femme Maison I felt understood. Someone who did not know me had drawn a portrait of me’, she has said.

Fluxà then began collecting Bourgeois’s work, which she displayed in her gallery, Lluc Fluxà, in Palma de Mallorca. She later met the artist, which led to discussions about a possible collaboration between the two. The illustrated book, ”Metamorfosis” was the result of this encounter. The subject matter of the book involves Fluxá’s background, including the fact that her father ran an important shoe manufacturing business owned by the family. Fluxà had a difficult relationship with her father, a problem that Bourgeois could relate to. The patriarchal father contributed largely to her feelings of inferiority, addressed in both her performance and in “Metamorfosis.”The book was published

by Galerie Lelong, Paris, in 1999 and it contained texts by Fluxà and original engravings by Louise Bourgeois. The book’s illustrations include images of feet and shoes and Fluxá also sent Bourgeois a pair of wooden shoe forms. The watercolour by Bourgeois in this auction was executed in 1997.

It was during this time that Fluxà traveled to New York twice a year to work with Bourgeois. A dignified woman is portrayed with a string of pearls around her neck. Her face is replaced by the bright red sole of a shoe. A few strands of hair stand straight up from the top of her head. This ’Femme Maison’ is not trapped in an architectural structure but portrayed as an upright red-hot propagator of the feminist movement.

425C. Louise Bourgeois (USA, 1911–2010) Untitled.

Signed LB. Executed in 1997. Watercolour, coloured pencil and pencil, 41.5 x 30.5 cm.

Provenance: Cheim & Read Gallery, New York.

Private Collection, Stockholm. Acquired from the above by the present owner.

Estimate: SEK 400 000–500 000 / EUR 36 300–45 300

(d)

426. Fabian Marcaccio (Argentina, 1963–) “Subject Out”.

Signed Marcaccio and dated 91 verso. Mixed media on canvas in artist's frame 102 x 81.5 cm.

Provenance: Stux Gallery, New York.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

427. Robert Terry (USA, 1953–) “Pink tree”.

Signed Robert Terry and dated 2012 on verso. Panel 61 x 47 cm.

Provenance: Lars Bohman Gallery, Stockholm.

Estimate: SEK 40 000–50 000 SEK / EUR 3 630–4 530

428. Terence Koh (China, 1977–) “Untitled (Double-Sided Head)”.

Executed in 2007. Edition 3+2 AP. Silver plated bronze and steel wire.

Height 27, width 26, depth 14 cm.

Literature: Hamim M Momin & Beatrix Ruf, “Terence Koh”, 2007, illustrated in colour on p. 14.

Estimate: SEK 70 000 – 80 000 / EUR 6 190 – 7 080

428A. Donna Huanca (USA, 1980–) “Morphologically”.

Executed 2019. Oil and sand on digital print on canvas 220 x 180 cm.

Provenance: CFHILL, Stockholm.

Exhibitions: CFHILL Passagen, Stockholm, “New pop-up-space”, 10 February - 31 May 2024.

Estimate: SEK 400 000 – 500 000 / EUR 36 300 –45 300

428B. Collins Obijiaku (Nigeria, 1995–) “Untitled”.

Executed 2020. Acrylic, oil and charcoal on paper 66 x 50.8 cm.

Provenance: CFHILL, Stockholm.

Estimate: SEK 80 000–100 000 / EUR 7 250–9 070

428C. Tadesse Mesfin (Ethiopia, 1953–)”Pillars of Life”.

Executed 2021. Oil on canvas 120 x 150 cm.

Provenance: CFHILL, Stockholm.

Estimate: SEK 150 000–200 000/ EUR 13 600–18 100

428D. Murjoni Merriweather (USA, 1996–)”Aurora”.

428E. Murjoni Merriweather (USA, 1996–)”Remi”.

Executed 2020. Ceramic and hand braided synthetic hair 48 x 28 x 25 cm.

Executed 2020. Ceramic and hand braided synthetic hair 56 x 19 x 24 cm.

Provenance: CFHILL, Stockholm.

Provenance: CFHILL, Stockholm.

Estimate: SEK 40 000–60 000/ EUR 3 630–5 440

Estimate: SEK 40 000–60 000/ EUR 3 630–5 440

428F. Delphine Desane (France, 1988–)”Journey to Utopia I”.

428G. David “Mr. StarCity” White (USA, 1979–)”Quite Yawn”.

Executed 2020. Acrylic on canvas 100 x 80 cm.

Executed 2020. Acrylic, pencil, charcoal on canvas 175.2 x 139.7 cm.

Provenance: CFHILL, Stockholm.

Provenance: CFHILL, Stockholm.

Estimate: SEK 80 000–100 000 / EUR 7 250–9 070

Estimate: SEK 100 000–150 000 / EUR 9 070–13 600

429. Francis Bacon (Great Britain, 1909–1992) “Etude de corps humain d'après Ingres”.

Signed in pencil and numbered 141/180. Lithograph, 1984.

I. 61.5 x 46 cm. S. 87.7 x 60 cm.

Provenance: Galerie Lelong, Paris.

Literature: Sabatier 19.

Estimate: SEK 50 000 – 70 000 / EUR 4 420 – 6 190

(d)

430. Francis Bacon (Great Britain, (After) 1909–1992) “Three studies of a male back” (Triptych).

Each signed in pencil and numbered H.C (in addition to the numbered edition of 99). 3 colour lithographs, 1987. Published by Art International, Paris. Printed by Galerie Lelong, Paris.

I. 60.5 x 44.8 cm, S. 81 x 59.4 cm (Arches).

Literature: Sabatier 19.

Estimate: SEK 200 000 – 225 000 / EUR 17 690 – 19 900

(d)

431. Georg Baselitz (Germany, 1938–) “Geteilter Held (Remix)”.

432. 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.

Signed in pencil and numbered 1/50.

Colour woodcut, 2008. 99 x 50 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080 (d)

433. Alexander Calder (USA, 1898–1976) Untitled, from: “La mémoire élémentaire”.

434. Christo Vladimirov Javacheff (Bulgaria, 1935–2020) “Wrapped Armchair Project”.

Signed in pencil and numbered 53/100. Colour lithograph, 1976.

S. 52 x 72 cm.

Signed and numbered 96/100. Lithograph and silkscreen in colour with collage and mixed media, 1990. Published by Fondazione Mudima, Milan.

64 x 88 cm. Mounted in plexibox 66 x 90.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

Literature: Schellmann 152.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

(d)

435. Christo Vladimirov Javacheff (Bulgaria, 1935–2020) “Surrounded Islands, Project for Biscayne Bay, Greater Miami, Florida”.

Signed in pencil and numbered 36/125. Diptych. Silkscreen in colours and collotype, with collage of fabric, photo and masking tape, 1987. Printed by Domberger KG, Stuttgart and with their blind stamp. Published by Edition Schellmann, München/New York.

38 x 40 cm each (total measuremnt including frame 54.5 x 99 cm).

Literature: Schellmann 132.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

(d)

436. Christo Vladimirov Javacheff (Bulgaria, 1935–2020) “Orange Store Front, Project”.

Signed in pencil and numbered 70/100. Colour lithograph with collage of fabric, wrapping paper, staples, acetate plastic, and galvanised iron, 1991. Printed by Landfall Press, Chicago. Published

by Leif Holmer Gallery, Nässjö/Claes Distner Gallery, Karlshamn.

70 x 81 cm including plexiglass box.

Literature: Schellmann/Benecke 157.

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850

437. Jim Dine (USA, 1935–) “A Well Painted Strelitzia”.

Signed in pencil and numbered 23/33. Hand-coloured etching, 1980. Published by Pace Prints, New York. S. 91 x 60 cm.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

(d)

438. Jasper Johns (USA, 1930–) “Sketch from Untitled I”.

Signed in pencil, dated and numbered 20/50. Lithograph in colours, 1994.

Printed by Gemini G.E.L., with their inkstamp verso. S. 108 x 72 cm.

Literature: ULAE 130.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

439. Keith Haring (USA, 1958–1990) Untitled (Plate 3).

Signed in pencil and numbered 83/100. Lithograph in colours, 1987.

Published by Martin Lawrence Limited Editions. I. 21,5 x 32 cm.

S. 28 x 37.5 cm.

Literature: Littmann p. 75.

Estimate: SEK 150 000 – 175 000 / EUR 13 270 – 15 480

440. Damien Hirst (Great Britain, 1965–) “The Souls I (Topaz/Oriental Gold/Westminister blue)”.

Signed in pencil and numbered 3/15. Foil block print, 2010. S. 71 x 51 cm.

Provenance: Bukowski Auktioner, Contemporary Art & Design 619, 2019, lot. 347.

Private Collection, Stockholm.

Estimate: SEK 80 000 – 100 000 / EUR 7 080 – 8 850

(d)

441. Brice Marden (USA, 1938–) ”I, II, III”. .

Each signed in pencil and numbered 20/35. The complete suite of 3 screenprints in colours, 1983.

Published by Simca Print Artists and the artist, New York. S. each 77 x 58 cm.

Literature: Lewison 37.

Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 310

442. Damien Hirst (Great Britain, 1965–) “Gabriel” from “The Archangels”.

Signed in pencil and numbered 77/100. Giclée print, 2021, on archival fine art paper.

Published by Heni Editions with Heni Editions Catalogue Number H15–14. Framed in an oak frame chosen by the artist. In original packaging. I. 52 x 144 cm.

Estimate: SEK 125 000 – 150 000 / EUR 11 060 – 13 270

443. David Hockney (Great Britain, 1937–) “Etching is the Subject”, ur “The Blue Guitar”.

Signed in pencil and numbered 175/200. Etching and aquatint in colours.

Published by Petersburg Press, London. P. 35 x 42.5 cm. S. 45.8 x 52 cm.

Literature: S.A.C. 212. M.C.A.T. 191.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

(d)

444. David Hockney (Great Britain, 1937–) “A Picture of Ourselves” from: “The Blue Guitar”.

445. David Hockney (Great Britain, 1937–) “Sumo”.

A Bigger Book by Taschen.

Signed in pencil and numbered 107/200. Etching and aquatint, 1976–77. Published 1977 by Petersburg Press, London. S. 45.5 x 52.4 cm.

Signed. Collectors edition. Copy number 1994. Hardcover. 498 pages.

Book measures 50 x 70 x 9 cm. Adjustable bookstand by Marc Newson, height ca 98 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

(d)

Estimate: SEK 30 000 – 40 000 / EUR 2 660 – 3 540

(d)

446. Donald Judd (USA, 1928–1994) Untitled.

447. KAWS (USA, 1974–) “Untitled IV” from “Urge”.

Signed in pencil and numbered 39/175. Aquatint etching, 1974–79.

Printed by Styria Studio, New York, with their blindstamp.

P. 89.2 x 62.2 cm. S. 101 x 74.5 cm.

Signed in pencil and numbered 243/250. Screenprint in colours, 2020.

I. 29 x 22 cm. S. 44 x 33 cm..

Literature: Schellmann 100.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

(d)

Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 310

448. Willem de Kooning (USA, 1904–1997) “Two Women”.

Signed in pencil and numbered A.P. Lithograph, 1973. Printed by Styria Studio, New York, with blindstamp. S. 46 x 38.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

449. Roy Lichtenstein (USA, 1923–1997) “Mirror #2”,.

Signed in pencil and numbered 38/80. Linocut and screenprint in colours, 1972. Published and printed by Gemini G.E.L., Los Angeles.

Diameter 53.8 cm. S. 71.1 x 71.1 cm.

Literature: Corlett 107.

Estimate: SEK 70 000 – 80 000 / EUR 6 190 – 7 080

450. Roy Lichtenstein (USA, 1923–1997) “Still Life with Figurine”, from Six Still Lifes.

Signed in pencil and numbered 4/100. Colour lithograph and screenprint in colours, 1974. Published by Multiples, Inc., and Castelli Graphics, New York with their blind stamp verso. Printed by Styria Studio, New York with their blind stamp. I. 99.2 x 76.5 cm. S. 118.6 x 95.8 cm.

Literature: Corlett 128.

Estimate: SEK 100 000 – 150 000 / EUR 8 850 – 13 270

Roy Lichtenstein “It started when I tried to photograph a print by Robert Rauschenberg that was under glass. But the light from a window reflected on the surface of the glass and prevented me from taking a good picture. But it gave me the idea … where the reflection would hide most of the work, but you could still make out what the subject was. … It portrays a painting under glass. It is framed and the glass is preventing you from seeing the painting.”

(Roy Lichtenstein, ‘A Review of My Work Since 1961’, in: G. Bader, Roy Lichtenstein, October Files, New York, 2009, p. 69.)

In 1988 Roy Lichtenstein began to work on a series of Reflection paintings, in which the central motif is obscured, as if seen through glass or reflected in a mirror. Lichtenstein revisited past subjects as well as other artists’ works for inspiration for the series. Work began in 1989 at Tyler Graphics Ltd. on the seven prints of the series which combine lithography, screenprint, and relief with collage and embossing.

In the Reflection series the motif is partially obscured by diagonal blocks of white filled with dots and diagonal dashes. The colour of the blue on white suggests a reflective sheen and the metallic PVC strip of collage in the center of the composition enhances the effect of light reflections.

'Mirrors are flat objects that have surfaces you can't easily see since they're always reflecting what's around them. There's no simple way to draw a mirror, so cartoonists invented dashed or diagonal lines to signify 'mirror'. Now, you see those lines and you know it means 'mirror' even though there are obviously no such lines in reality. If you put horizontal, instead of diagonal lines across the same object, it wouldn't say 'mirror'. It's a convention that we unconsciously accept’ (R. Lichtenstein quoted in: M. Kimmelman, ‘Roy Lichtenstein at the Met - Portraits, Talking with Artists at the Met, the Modern, The Louvre and elsewhere’, The New York Times, 31 March 1995, p. C1).

Lichtenstein's "Reflections" series differ from the artist's earlier works in that the series focuses on reflection and visual distortion of light rather than the comic book imagery. The series demonstrate Roy Lichtenstein's versatility as an artist and his ability to approach and explore different themes while still maintaining his unique and characteristic style.

451. Roy Lichtenstein (USA, 1923–1997) “Reflections on Conversation”, from the Reflections Series.

Signed and dated in pencil. Numbered 16/68. Lithograph, screenprint and woodcut in colours, with metalized PVC collage with embossing on Somerset paper, 1990.

Published and printed by Tyler Graphics Ltd., Mount Kisco, New York, with their blindstamp. I. 119.7 x 154.3. S. 136.5 x 169.9 cm.

Provenance: Heland Wetterling Gallery, Stockholm. Private Collection.

Literature: Corlett 240.

Estimate: SEK 1 400 000 – 1 500 000 / EUR 123 790 – 132 630

452. Robert Motherwell (USA, 1915–1991) “Nocturne VI” from “Octavio Paz Suite”.

Signed in pencil and numbered 10/50. Lithograph in colours and chine appliqué on Arches and Japanese Gampi handmade paper, 1988. I. 35 x 27 cm. S. 64.5 x 54 cm.

Literature: Belknap 359.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

453. Richard Prince (USA, 1949–) “Untitled (de Kooning)”.

Signed and lettered 'C' in pencil. Offset lithograph in colours with handcolouring and collage, 2008. Published by Two Palms Press, New York.

From the edition of 26 lettered copies, there were also 6 artist's proofs.

I. 21 x 21.3 cm, S. 35.5 x 35.5 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

454. Robert Rauschenberg (USA, 1925–2008) “Samarkand Stitches VI”.

Embroidered signature and dated 88. Unique screen print and fabric collage, 1988.

From an edition of 70 unique variations, published by Gemini G.E.L., Los Angeles.

195.6 x 66.4 cm Provenance: Fabian Carlsson Gallery, London. Acquired from the above by the current owner in 1988.

Literature: Gemini RR88-160

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

455. Robert Rauschenberg (USA, 1925–2008) “Samarkand Stitches VII”.

Embroidered signature and dated 88. Unique screen print and fabric collage, 1988. From an edition of 72 unique variations, published by Gemini G.E.L., Los Angeles.

124.5 x 111.8 cm Provenance: Fabian Carlsson Gallery, London. Acquired from the above by the current owner in 1988.

Literature: Gemini RR88–164.

Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 310

456. James Rosenquist (USA, 1933–2017) 'To Infinity'.

Signed in pencil and numbered 23/42. Color lithograph mounted on aluminum, with etched and hand-colored rotating mirror, in a white-painted artist's frame, 2012. Published by Universal Limited Art Editions, New York, with their blind stamp. 74.5 x 65.5 cm, including frame: 77 x 69 cm.

Estimate: SEK 40 000 – 50 000 / EUR 3 540 – 4 420

457. Ed Ruscha (USA, 1937–) “Flies (from Insects Portfolio)”.

Signed in pencil and numbered 95/100. Screenprint in colours, on paper-backed wood veneer, 1972. Published by Multiples Inc., New York and Los Angeles. Printed by Styria Studio, New York. S. 51 x 69 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

458. David Shrigley (Great Britain, 1968–) “The Elephant”.

Signed with initials, dated and numbered 103/125 in pencil verso. Screenprint in colours, 2023. Published by Stephen Friedman Gallery, London. S. 76 x 56 cm.

Estimate: SEK 25 000 – 30 000 / EUR 2 210 – 2 660

(d)

459. Frank Stella (USA, 1936–2024) “Sanbornville”, from: “Eccentric Polygons”.

Signed in pencil and numbered 36/100. Lithograph and screenprint in colours, 1974. Published by Gemini G.E.L. with their blindstamp, Los Angeles. S. 43.8 x 56.5 cm.

Literature: Axsom 105. Gemini 551.

Estimate: SEK 20 000 – 25 000 / EUR 1 770 – 2 210

460. Andy Warhol (USA, 1928–1987) “Self-portrait”.

Signed in felt tip pen. Screenprint in colours, 1978. From the edition of 300.

Published by Louisiana Museum of Modern Art, Humlebaek. S. 107 x 75.4 cm.

Literature: Feldman & Schellmann 156A.

Estimate: SEK 50 000 – 60 000 / EUR 4 420 – 5 310

461. Andy Warhol (USA, 1928–1987) “Cow”.

Screenprint in colours, 1971. Printed by Bill Miller's Wallpaper Studio, Inc., New York. Published by Factory Additions, New York, for a Warhol exhibition at the Whitney Museum of American Art, New York. S. 114 x 76 cm.

Literature: Feldman & Schellmann II.11 A.

Estimate: SEK 60 000 – 80 000 / EUR 5 310 – 7 080

462. Andy Warhol (USA, 1928–1987) “Vegetarian Vegetable, from Campbell's Soup ¼”.

Signed in ball-point pen and numbered 190/250 verso. Printed

by Salvatore Silkscreen Co. Inc., New York. Published by Factory Additions, New York. S. 88.9 x 58.4 cm.

Provenance: Acquired in the 1980s.

Literature: Feldman & Schellmann II 56.

Estimate: SEK 200 000 – 250 000 / EUR 17 690 – 22 110

463. Andy Warhol (USA, 1928–1987) “Leonardo da Vinci, The annunciation”, ur: “Details of renaissance paintings”.

Signed in pencil and numbered 36/60. Screenprint in colours, 1984. Printed by Rupert Jasen Smith, New York. Published by Editions Schellmann & Klüser, Munich/New York, with the publisher's stamp verso. I. 64.2 x 94 cm. S. 81.5 x 112 cm.

Provenance: Acquired by the current owner in 1987.

Literature: Feldman & Schellmann II 321.

Estimate: SEK 250 000 – 300 000 / EUR 22 110 – 26 530

464. Andy Warhol (USA, 1928–1987) “Herself”, from: “Three portraits of Ingrid Bergman”.

Signed in pencil and numbered 35/250. Screenprint in colour, 1983, on Lenox Museum Board.

Printed by Rupert Jasen Smith, New York. Published by Galerie Börjeson, Malmö. With the publisher's and artist's stamp verso. I/S. 96.4 x 96.4 cm.

Provenance: Galerie Forsblom, Helsinki. Private Collection.

Literature: Feldman & Schellmann II.313.

Estimate: SEK 300 000 – 400 000 / EUR 26 530 – 35 370

465. Andy Warhol (USA, 1928–1987) “Mick Jagger”.

Signed in pencil Andy Warhol and in felt-tip pen by Mick Jagger, numbered AP 8/50. Screenprint in colours, 1975.

Printed by Alexander Henrici, New York, published by Seabirds Editions, London. Sheet 109 x 73 cm.

Provenance: Purchased in the USA in the 1970s. Thence by descent to the present owner.

Literature: Feldman & Schellmann II. 142.

Estimate: SEK 600 000 – 800 000 / EUR 53 050 – 70 740

465A. Andy Warhol (USA, 1928–1987) “Neuschwanstein”.

Signed in the print. Offset lithograph poster with screenprint, 1987. Published

by Edition Schellman, Munich, New York and Verlag Sabine Knust, Munich, in an edition of 1200. 91 x 62 cm.

Provenance: Gift from Bayerische Rück on the occasion of their 75th anniversary in 1897 to the current owner.

Literature: Feldman & Schellmann II.372.

Estimate: SEK 15 000 – 20 000 / EUR 1 330 – 1 770

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