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
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Live auction
Wednesday October 22
From
Live auction
Thursday October 23
Highlights from Memphis Group – A private collection: 10. Ettore Sottsass, a ‘Park Lane’ coffee table. 14. Masanori Umeda, a ‘Parana’ bowl, Alessio Sarri Ceramiche. 4. Ettore Sottsass, a ‘Max’ bookcase. 5. Aldo Cibic, a ‘Belvedere’ console. 9. Ettore Sottsass, an ‘Ashoka’ table lamp 20. Ettore Sottsass, a ‘Callimaco’ floor lamp, Artemide. 2. Peter Shire , a ‘Big Sur’ sofa.
A piece of Memphis furniture is a linguistically controlled assembly whose final form is not the result of a design story held together by constructive coherence, but a milkshake of possibilities, an accident that represents the variable and unstable logic of the parts that compose it: volumes broken into different kinds of surfaces, fragmented by decoration and diversified by textures, materials and color.
– Barbara Radice, 1985
In December 1980, a group of young designers gathered in Milan with a common view of the design scene of the time. With the ambition to create a platform for critical reflection, the foundation was laid for a designer collective that wanted to challenge prevailing aesthetics, material choices and production processes during the industrial age that was the 1980s. The established, conventional “good taste” would be questioned at all costs. With an energetic obsession, the group worked out their manifesto to the tune of Bob Dylan’s “Stuck Inside of Mobile with the Memphis Blues Again”, from which the group got its name - Memphis. Strictly speaking, it was initially neither a movement nor a full-fledged style, but rather an experiment by a group of young designers.
Memphis was founded under the artistic direction of Milanese architect and designer Ettore Sottsass. Many of those who would become the main members of the group were present at the first meeting, including Michele De Lucchi and Aldo Cibic. More members were added as time went on, such as the American Peter Shire, the Japanese Shiro Kuramata, the French Nathalie Du Pasquier and the British George Sowden among many more. Two more people played crucial roles in the establishment and success of Memphis: the journalist Barbara Radice, who became the group’s coordinator and art director, and Ernesto Gismondi, the founder of Artemide, who ensures a much-needed link to producers.
Memphis launched its first collection, consisting of 55 objects, at the Arc ‘74 gallery on September 18, 1981, in conjunction with that year’s Milan furniture fair. The elaborate conceptual exhibition was widely discussed in the design world. In the years that followed, the group worked on furniture, lighting fixtures, fabrics, carpets, items in ceramics, glass and metal. The shapes were consistently geometric, colorful and non-conformist. They embraced what others would call “kitsch” and inspiration came from a wide range of sources, from Art Deco to Futurism and Pop Art.
Bukowskis is pleased to present an extensive private collection of furniture and objects from Memphis, carefully acquired over many years. In total, the collection comprises 22 colorful objects, of which 9 are iconic forms by Ettore Sottsass, presented side by side with objects designed by, among others, Peter Shire, Aldo Cibic, Shiro Kuramata and Michele De Lucchi.
The collection (lot 1-22) is being sold on behalf of the Swedish Enforcement Authority.
1. Ettore Sottsass (Italy, 1917–2007) a “Tartar” console, Memphis, Italy, post 1985.
Plastic laminate, plywood, lacquer. Length 195 cm, depth 85 cm, height 78 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 440 – 7 250
2. Peter Shire (USA, 1947–) a “Big Sur” sofa, Memphis, Italy, post 1986.
Plastic laminate, fixed cushions upholstered in polychrome textile, manufacturer’s label MEMPHIS MILANO PETER SHIRE 1986 MADE IN ITALY. Length 210 cm, depth 72 cm, height 92 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 720
3. Peter Shire (USA, 1947–) a “Cahuenga” floor lamp, Memphis, Italy, post 1985.
Enamelled aluminium, chromed steel, brass. Height 100 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
4. Ettore Sottsass (Italy, 1917–2007) a “Max” bookcase, Memphis, Italy, post 1987.
Bird’s eye maple, plastic laminate, acrylic, terrazzo, unit features two drawers and a drop-front bar, manufacturer’s label MEMPHIS MILANO E. SOTTSASS 1987 MADE IN ITALY. Width 134 cm, depth 32 cm, height 225 cm.
5. Aldo Cibic (Italy, 1955–) a “Belvedere” console, Memphis, Italy, post 1982.
Marble, granite, pietra serena, three drawers in a frame of red lacquered wood, manufacturer’s label MEMPHIS MILANO ALDO CIBIC 1982 MADE IN ITALY. Length 106 cm, depth 43 cm, height 80 cm.
Literature: Barbara Radice, “Memphis: Research, Experiences, Failures and Successes of New Design”, Thames & Hudson 1994, model illustrated p. 100.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
6. Ettore Sottsass (Italy, 1917–2007) a “Diva” mirror, Memphis, Italy, post 1984.
Plastic laminate, mirror glass, manufacturer’s label MEMPHIS MILANO E. SOTTSASS 1984 MADE IN ITALY. Height 111 cm, width 76 cm.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
8. Michele De Lucchi (Italy, 1951–) a “Lido” sofa, Memphis, Italy, post 1982.
Plastic laminate, enamelled steel, lacquered wood, upholstered in polychrome textile, manufacturer’s label MEMPHIS MILANO MICHELE DE LUCCHI 1982 MADE IN ITALY. Length 150 cm, depth 95 cm, height 95 cm.
Literature: Barbara Radice, “Memphis: Research, Experiences, Failures and Successes of New Design”, Thames & Hudson 1994, model illustrated p. 127.
Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630
7. Ettore Sottsass (Italy, 1917–2007) a “Holebid” coffee table, Memphis, Italy, post 1984.
Plastic laminate, manufacturer’s label MEMPHIS MILANO E. SOTTSASS 1984 MADE IN ITALY. Length 108 cm, width 108 cm, height 45 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630
9. Ettore Sottsass (Italy, 1917–2007) an “Ashoka” table lamp, Memphis, Italy, post 1981.
Enamelled steel, chromed steel. Length 82 cm, depth 8 cm, height 87 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 360 – 1 820
10. Ettore Sottsass (Italy, 1917–2007) a “Park Lane” coffee table, Memphis, Italy, post 1983.
Fiberglass, glittering green feet, marble top. Height 37 cm, diameter 90 cm.
Literature: Barbara Radice, “Memphis: Research, Experiences, Failures and Successes of New Design”, Thames & Hudson 1994, model illustrated p. 177.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 530
11. Ettore Sottsass (Italy, 1917–2007) a “Malabar” bookcase, Memphis, Italy, post 1982.
Plastic laminate, enamelled steel, lacquered wood, manufacturer’s label MEMPHIS MILANO E. SOTTSASS 1982 MADE IN ITALY. Length 254 cm, depth 50 cm, height 236 cm.
Literature: Barbara Radice, “Memphis: Research, Experiences, Failures and Successes of New Design”, Thames & Hudson 1994, model illustrated p. 97.
Estimate: SEK 50 000 – 60 000 / EUR 4 530 – 5 440
12. Michele De Lucchi (Italy, 1951–) a “Lido” sofa, Memphis, Italy, post 1982.
Plastic laminate, enamelled steel, lacquered wood, upholstered in polychrome textile. Length 150 cm, depth 95 cm, height 95 cm.
Literature: Barbara Radice, “Memphis: Research, Experiences, Failures and Successes of New Design”, Thames & Hudson 1994, model illustrated p. 127.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
13. Shiro Kuramata , a “Kyoto” table, Memphis, Italy, post 1983.
13. Shiro Kuramata (Japan, 1934–1991) a “Kyoto” table, Memphis, Italy, post 1983.
Literature: Barbara Radice, “Memphis: Research, Experiences, Failures and Successes of New Design”, Thames & Hudson 1994, model illustrated p. 153.
Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630
14. Masanori Umeda (Japan, 1941–) a “Parana” bowl, Alessio
Sarri Ceramiche for Memphis, Italy, post 1983.
Glazed ceramic, printed manufacturer’s mark to verso MEMPHIS
MILANO Made in Italy by A. SARRI CERAMICHE Design: Masanori Umeda. Length 40 cm, width 37 cm, height 8 cm.
Literature: Barbara Radice, “Memphis: Research, Experiences, Failures and Successes of New Design”, Thames & Hudson 1994, model illustrated p. 168.
Estimate: SEK 4 000 – 5 000 / EUR 370 – 460
15. Peter Shire (USA, 1947–) a “Hollywood” occasional table, Memphis, Italy, post 1983.
Plastic laminate, enamelled steel, manufacturer’s label MEMPHIS MILANO
PETER SHIRE 1983 MADE IN ITALY. Length 75 cm, width 75 cm, height 58 cm.
Literature: Barbara Radice, “Memphis: Research, Experiences, Failures and Successes of New Design”, Thames & Hudson 1994, model illustrated p. 126.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 360
16. Peter Shire (USA, 1947–) a “Peninsula” table, Memphis, Italy, post 1982.
Plastic laminate and lacquered metal, glass top, manufacturer’s label MEMPHIS MILANO PETER SHIRE 1982 MADE IN ITALY. Length 150 cm, width 90 cm, height 73 cm.
Literature: Barbara Radice, “Memphis: Research, Experiences, Failures and Successes of New Design”, Thames & Hudson 1994, model illustrated p. 122.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
17. Aldo Cibic (Italy, 1955–) a “Madison” floor lamp, Memphis, Italy, post 1983. Enamelled steel. Height 201 cm, diameter 43.5 cm.
Literature: Barbara Radice, “Memphis: Research, Experiences, Failures and Successes of New Design”, Thames & Hudson 1994, model illustrated p. 102.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 360
18. Ettore Sottsass (Italy, 1917–2007) a “City” dining table, Memphis, Italy, post 1983. Plastic laminate, chrome-plated legs, enamelled feet, manufacturer’s label MEMPHIS MILANO ETTORE SOTTSASS 1983 MADE IN ITALY (designer and year indistinctly stamped). Length 160 cm, width 85 cm, height 72.5 cm.
Literature: Barbara Radice, “Memphis: Research, Experiences, Failures and Successes of New Design”, Thames & Hudson 1994, model illustrated p. 174.
Estimate: SEK 15 000 – 20 000 / EUR 1 360 – 1 820
19. Aldo Cibic (Italy, 1955–) a “Sophia” writing desk, Memphis, Italy, post 1985.
Plastic laminate, lacquered wood, plywood, branded MEMPHIS MILANO A. CIBIC 1985 MADE IN ITALY. Length 120 cm, depth 90 cm, height 75 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 360
20. Ettore Sottsass (Italy, 1917–2007) a “Callimaco” floor lamp, Artemide, Italy, post 1982.
Polychrome lacquered aluminium, chrome details, uplight, manufacturer’s label to underside. Height 200 cm.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
21. Andrea Anastasio (Italy, 1961–) a “Nageire” sculpture, Memphis Extra, Italy, early 1990s.
Clear glass with blue decoration, loose red glass rods, signed A ANASTASIO PER MEMPHIS EXTRA. Height 46.5 cm.
Estimate: SEK 5 000 – 7 000 / EUR 460 – 640
22. Andrea Anastasio (Italy, 1961–) an “Ikebana” sculpture, Memphis Extra, Italy, early 1990s.
Yellow, red, and blue-toned glass, signed A ANASTASIO PER MEMPHIS EXTRA. Length 53 cm.
Burl wood top and central leg, three legs in silver-plated metal, manufacturer’s paper label Zanotta. Diameter 160 cm, height 70.5 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630
24. Peter Freudenthal (Sweden, 1938–) a table clock, ed. 3/18, executed in his studio, 1988.
Polychrome painted wood, numbered, signed and dated 3/18 Peter Freudenthal 1988. Length 24 cm, depth 12.5 cm, height 27 cm.
Estimate: SEK 4 000 – 5 000 / EUR 370 – 460 (d)
25. 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.
Provenance: Private Collection, Sweden.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
This lot is being sold on behalf of the Swedish Enforcement Authority.
26. Keith Haring (USA, 1958–1990) & Toshiyuki Kita, an “On Taro” table lamp, ed. 922/2000, Kreon, Belgium, 1988.
Screenprinted glass, on a base of stone, printed signatures K Haring 88 and TK, incised numbering T922–2000. Height 54 cm, width 32 cm.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910
27. Roy Lichtenstein (USA, 1923–1997) after, a carpet, “Dialog Art Collection”, machine-made, c 250 x 203 cm, Vorverk & Co. Designed in 1987–1988.
Provenance: Private Collection, Sweden.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
28. Igor Cronsioe (Sweden, 1944–) a pair of “Sudden Seat” folding chairs, Futura Gallery, Stockholm, 1983.
Polychrome lacquered, signed in pencil H.C. Igor Cronsioe. Seat height ca 46.5 cm, height 79 cm. Metal fittings for wall mounting and a limited edition poster for the 50th anniversary of the Swedish Association of Interior Architects in 1983 are included.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
29. Donald Judd, a “Corner Chair No 15”, Lehni, Switzerland, 1989.
29. Donald Judd (USA, 1928–1994) a “Corner Chair No 15”, Lehni, Switzerland, 1989. Aluminium, lacquered in “Traffic Grey”, impressed signature, numbering and date DJ 8 89. Length 50 cm, width 50 cm, height 75 cm. An original brochure is included.
Provenance: Galerie Aronowitsch, Stockholm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 530
30. Philippe Starck (France, 1949–) a “Petite Étrangeté Sous un Mur Vase” sculpture/vase, ed. 49/50, Daum, Nancy, France, post 1988.
Horn-shaped vase in blue frosted glass, base in clear glass, signed and numbered Daum Starck 49/50. Height 60 cm, width 40 cm, depth ca. 42 cm.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
31. Philippe Starck (France, 1949–) a “Luciana Fortyfour” candle holder, O.W.O, Montfort-l’Amaury, France, ca 1988.
Polished aluminium, glass insert, manufacturer’s mark with facsimile signature
STARCK INGW. Height 25 cm.
Estimate: SEK 3 000 – 4 000 / EUR 280 – 370
32. Charlotte Perriand (France, 1903–1999) a pair of wall lights model “CP1”, La Société Centrale d’Eclairage, France, 1960s.
Painted metal, adjustable, manufacturer’s label SCE Made in France Class I. Height 16.5 cm, width 12.5 cm, depth 7 cm.
Literature: Jacques Barsac, “Charlotte Perriand: Complete Works 1955–1968, Volume III”, Norma Editions 2017, pp. 106–07.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910
33. Fernando & Humberto Campana (Brazil) a “Vermelha” chair, Edra, Italy, post 1993.
Frame in metal, seat and back of red cords. Width 83 cm, height 75 cm, seat height ca 39 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
34. Jean-Marie Massaud (France, 1966–) an “Inout” bench, Cappellini, Italy, post 2001.
Fiberglass on steel legs. Length 210 cm, depth 36 cm, height 42 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 360 – 1 820
35. Mario Bellini (Italy, 1935–) a “Camaleonda” sofa, B&B Italia, Italy, 2020s. Six modules, MDF and polyurethane frame, upholstered in a dark blue “Astro” textile, ball feet in beech, manufacturer’s mark B&B ITALIA Mario Bellini Camaleonda Made in Italy. Three modules 96 x 96 cm and three modules 96 x 66 cm. Height 67 cm.
36. Mario Bellini (Italy, 1935–) a pair of “Camaleonda” ottomans, B&B Italia, Italy, post 1970.
MDF and polyurethane frame, upholstered in light pink velvet, manufacturer’s paper label B&B ITALIA Novedrate, Como sistema CAMALEONDA designer M. BELLINI modelle depositato collaudo. Length 95 cm, width 95 cm, height 38 cm.
Lithographed tin, black lacquered drip bowl, label marked FORNASETTI MILANO MADE IN ITALY. Height 68 cm width 39 cm.
Literature: Patrick Mauriès, “Fornasetti - Designer of dreams”, London 2010, model illustrated p. 162.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910
38. Vico Magistretti (Italy, 1920–2006) a “Maralunga 40 Nordiska Galleriet Limited Edition” armchair, ed. 1/5, Cassina, Italy, 2021. Base of black-stained walnut, silver-coloured upholstery, adjustable headrest, manufacturer’s metal label with numbering Cassina NORDISKA GALLERIET Maralunga by Vico Magistretti 2021 Limited Edition 1/5. Width 98 cm, depth 95 cm, height 100 cm, seat height 45 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
39. Aldo Tura (Italy, 1900–) a bar cabinet, Milan, Italy, 1960–70s. Covered in glossy lacquered brown goat’s leather, mahogany veneered base, interior with refrigerator with rosewood handle, glass shelves, fittings of brass, the back with remains of a paper label. Height 161 cm, bredd 115,5 cm, depth 52 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630
40. Aldo Tura (Italy, 1900–) a serving trolley, Milan, Italy, 1960–70s. Gilded metal and glossy lacquered brown goat leather, manufacturer’s paper label. 55 x 33 cm, height 56 cm. An ashtray on stand enclosed (see the online catalogue at bukowskis.com)
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 360
41. Aldo Tura (Italy, 1900–) a set of four chairs, Milan, Italy, 1960s-1970s. Covered in glossy lacquered brown goat’s leather, seat upholstered with brown faux leather, brass nails. Height 79,5 cm, width 51 cm, seat height ca 44 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
42. Stamuli (Sweden) a “Tagadà” mirror, Italy, post 2021. Wooden frame with polychrome laminate from Abet Laminati. Height 116 cm, width 52 cm, depth 25 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 360
43. Stamuli (Sweden) a “Tagadà” coffee table, Italy, post 2021. Wooden frame with polychrome laminate from Abet Laminati. Diameter 85 cm, height 30.5 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 360 – 1 820
44. Guido Drocco & Franco Mello (Italy) a “Cactus” (Biancocactus) coat hanger/sculpture, ed. 96/250, Gufram, Italy, post 2018. Polyurethane foam lacquered in white, manufacturer’s marking with numbering EDIZIONE LIMITATA CACTUS GUFRAM MULTIPLI 2007 96/250 DROCCO/MELLO. Height 170 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630
45. Patricia Urquiola (Spain, 1961–) a “Tufty-Time” sofa, B&B Italia, Italy, post 2005. Four modules including one footstool, steel and foam frame, upholstered in light fabric, manufactuer’s label. One corner module width 175 cm, depth 108 cm, height 63 cm, one module with armrest width 105 cm, depth 108 cm, height 63 cm, one module width 100 cm, depth 108 cm, height 63 cm, and one footstool length 107 cm, width 67 cm, height 33 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 440 – 7 250
46. Andrea Parisio (Italy, 1964–) a “Plinto Rectangular” dining table, Meridiani, Italy, post 2015.
Base in bronzed brass and marble, one leg and rectangular top in glossy grey lacquer, manufacturer’s label MERIDIANI MADE IN ITALY. Length 280 cm, width 110 cm, height 73.5 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630
47. Gerrit Rietveld (Netherlands, 1888–1964) a set of ten “Zig Zag” chairs, Cassina, Italy.
Ash, manufacturer’s mark Cassina Rietveld MADE IN ITALY. Height 75 cm, seat height 43.5 cm.
48. Jan Bocan (Czech Republic, 1937–2010) a pair of easy chairs, Thonet, executed for the Czechoslovakian Embassy, Stockholm 1972.
Base in laminated walnut, seat and back upholstered in woolen original fabric. Height 74 cm.
Provenance: The Czechoslovakian Embassy, Stockholm. Jan Bocan was a professor at the Technical University in Prague. At the age of thirty, he won the architectural competition for the new Czechoslovak Embassy in Stockholm. This was his first major assignment. The embassy was a total work of art with all interiors, textiles and furniture designed by Bocan. It was designed and built between 1968–70 and opened in 1972.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
48. Jan Bocan , one of a pair of easy chairs, Thonet
50. Mårten Medbo, a “Hairy” stoneware vase.
50. Mårten Medbo (Sweden, 1964–) a “Hairy” stoneware vase, executed in his studio, 2016.
Tube-shaped structures, glazed in yellow-brown shades, signed and dated M. MEDBO -16. Height 28.5 cm, diameter 30.5 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
49. Dorothy Hafner (USA, 1952–) a 47-piece “Flash” ceramic dinner service, Rosenthal, Germany, post 1984.
Consisting of 12 plates (diameter 19.8 cm), 12 dinner plates (diameter 27 cm), 11 soup plates (diameter 21.5 cm), 1 pair of decanters with stoppers (height 19.5–20 cm), 1 pair of salt and peppers, 3 various bowls, 1 tureen with lid (length 24 cm), 1 sauce boat (length approx. 19 cm), 2 different rectangular platters (length 23.5 and 36 cm), 1 large serving platter (diameter 35.5 cm). Marked Rosenthal GERMANY.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910
51. Mårten Medbo (Sweden, 1964–) a stoneware vase, executed in his studio, 2009.
Irregularly shaped surface, glazed in green and grey-brown, signed and dated M. MEDBO -09. Height 37 cm, 37 x 31 cm.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 360
52. Mårten Medbo (Sweden, 1964–) a unique “Tappvas” glass vase, Ajeto Glassworks, Nový Bor, Czech Republic, 2009.
Cylinder-shaped, white underlay, orange overlay with “knobs” in high relief, signed and dated MÅRTEN MEDBO -09 UNIQUE. Height 24 cm, diameter 13.5 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
53. Annika Svensson (Sweden, 1970–) a large “Waving Yellow” bowl, executed in her studio, 2004.
Organic form, red earthenware with yellow glazed inside, signed and dated Annika Svensson 2004. Diameter 73 cm, height 26 cm.
Provenance: Prize in the Handelsbanken Art Association lottery 2011.
52. Mårten Medbo, a unique “Tappvas” glass vase, Ajeto Glassworks, Nový Bor, Czech Republic, 2009.
56. Niklas Runesson, a unique armchair, executed in his studio, Stockholm, 2024.
55. Tobias Birgersson (Sweden, 1973-) a sterling silver object, Stockholm 2009.
Hanging object in balance with a steel vase at one end and a round calabash at the other. Length ca. 73 cm, height ca. 50 cm.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
56. Niklas Runesson (Sweden, 1985–) a unique armchair, executed in his studio, Stockholm, 2024.
Elm, organically shaped, upholstered seat covered in cowhide, branded NR Niklas Runesson. Width 83 cm, depth 68 cm, height 71 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
57. Hans-Agne Jakobsson (Sweden, 1919–2009) a rare ceiling lamp model “C 2438”, Hans-Agne Jakobsson AB, Markaryd, 1970s.
Brass, twelve acrylic wings, six light points, manufacturer’s paper label HANS-AGNE JAKOBSSON MARKARYD SWEDEN C 2438. Height 82 cm, diameter 100 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
59. Hans-Agne Jakobsson (Sweden, 1919–2009) a rare pair of wall lights model “C 2446”, Hans-Agne Jakobsson AB, Markaryd, 1970s. Frame in brass with mirror glass, one light point behind three layered shades in tinted acrylic plastic. Diameter 50 cm, depth 17 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 360
58. Hans-Agne Jakobsson (Sweden, 1919–2009) a rare ceiling lamp model “C 2438”, Hans-Agne Jakobsson AB, Markaryd, 1970s. Brass, twelve acrylic wings, six light points, manufacturer’s paper label HANS-AGNE JAKOBSSON MARKARYD SWEDEN C 2438. Height 82 cm, diameter 100 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
60. John Kandell (Sweden, 1925–1991) a pair of armchairs, J. E. Blomqvist Möbelfabrik, Uppsala, designed for the City Archive of Stockholm, 1958–59. Oak. Height 81 cm, width 64 cm, seat height 41 cm. Provenance: Stadsarkivet i Stockholm (The City Archive in Stockholm).
Literature: Carl E Christiansson, “John Kandell Furniture Architect”, Form, No. 2, 1965. Gunilla Lundahl, “Leken och allvaret John och Ulla Kandell (The Play and the Seriousness of John and Ulla Kandell)”, Carlsson Bokförlag 2016, p. 66. There, Ulf Hård af Segerstad is quoted in the daily paper Svenska Dagbladet as having described John Kandell’s interiors in positive terms in 1958 as being very representative of a new era: “Consistent and well-tuned with the architecture, John Kandell’s interiors in pine and oak are industrially rational and strictly architectural, albeit just as rustic and ‘square’ as the late 1950s fashion seems to prescribe.”
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
63. Erik Höglund, a wall mirror with two candle holders, Eriksmålaglas, Sweden, 1960s–70s.
61. John Kandell (Sweden, 1925–1991) a “Solitär” cabinet, Källemo, Värnamo, post 1981.
Raw-sawn mahogany, interior with adjustable shelves, branded JK. Height 203 cm, width 21 cm, depth 29 cm.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
62. Ella Öström (Sweden, 1930–2024) a set of eight chairs, for St. Thomas Church, Vällingby, 1960.
Birch, perforated seats, iron fittings. Height 91 cm, seat height 44 cm.
Literature: The model is illustrated in interior images from the church in the collections of ArkDes in Stockholm (Identification numbers ARKM.1988–111–26521/27062/27097).
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 360
63. Erik Höglund (Sweden, 1932–1998) a wall mirror with two candle holders, Eriksmålaglas, Sweden, 1960s–70s.
Pine, sculpted and partially painted in blue, green, and orange, relief decoration of birds, crowned by a flower, each side with candle holders, manufacturer’s paper label. 161 x 70 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 360 – 1 820
64. Jonas Bohlin (Sweden, 1953–) a “Concave” daybed, Källemo, Värnamo, post 1983.
Frame in laminated beech, legs in black lacquered metal, cushions and pillow upholstered in leather. Length 215 cm, width 55 cm, seat height 46 cm.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
65. Mats Theselius (Sweden, 1956–) a “Star” armchair, ed. 28/360, Källemo, Värnamo, post 2009.
Chrome-plated legs and trims, white mother-of-pearl imitation, white leather, manufacturer’s metal label STAR Mats Theselius 2009 KÄLLEMO AB 28/360. Height 81 cm.
66. Mats Theselius (Sweden, 1956–) an “Inox” armchair, ed. 172/199, Källemo, Värnamo, post 2015.
Polished stainless steel, armrests of white-soaped oak, upholstery of white nubuck leather, plate marked with numbering Aluminium Chair 25th Anniversary INOX no 165/199 Mats Theselius Produced by Källemo Sweden 2015. Height 72.5 cm, seat height 45 cm.
67. Erik Höglund (Sweden, 1932–1998) a wrought iron and glass chandelier, Boda Smide.
For 18 candles. Height 160 cm, diameter 50 cm. Two links of 28 cm each are included.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
68. Eero Saarinen (Finland, 1910–1961) a “Tulip” dining table, Knoll Studio, 2010.
Oval top of Carrara marble, central base of white lacquered aluminium, manufacturer’s metal label Knoll Studio Eero Saarinen 1956. 198.5 x 121 cm, height 74 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 530
69. Eero Saarinen (Finland, 1910–1961) a set of six “Tulip” chairs, Knoll Studio, 2010.
White fiberglass on a base of white lacquered aluminium, cushion with fabric, manufacturer’s metal label Knoll Studio Eero Saarinen 1956. Height 81 cm, seat height 46 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 530
70. Charles & Ray Eames (USA) an “Eames Lounge Chair” with ottoman, Vitra, 2000s.
Frame in plywood veneered in Santos rosewood, cushions upholstered in black leather, base in black brushed metal, manufacturer’s paper label
Original Eames Lounge Chair Charles Eames Vitra. Height 84 cm, seat height ca. 42 cm. Ottoman height 42 cm, width 65 cm, depth 55 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 440
71. Charles & Ray Eames (USA) a pair of “DCM” chairs, Vitra, 1997.
Black lacquered plywood, chrome-plated legs, manufacturer’s paper label. Height 73 cm, seat height ca 44 cm.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 360
72. EWE Studio (Mexico) a pair of “Estela” floor lamps, ed. 10+2, Mexico City, 2019.
Hand-carved green Tikal marble. Width 32 cm, depth 26 cm, height 165 cm.
73. Charles & Ray Eames (USA) an “Eames Lounge Chair” with ottoman, Vitra, late 1900s.
Frame in plywood veneered in Santos rosewood, cushions upholstered in dark brown leather, base in black brushed metal, the chair label marked Original Eames Lounge Chair Charles Eames Vitra, Height 84 cm, seat height approx. 42 cm. Ottoman height 42 cm, width 65 cm, depth 55 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 530
74. Verner Panton (Denmark, 1926–1998) a pair of “System 1–2–3” easy chairs, Fritz Hansen, Denmark, 1970s.
Steel frame, upholstered in blue wool textile, aluminium base. Height 105 cm, seat height ca 35 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 360 – 1 820
75. Poul Henningsen (Denmark, 1894–1967) an “Artichoke” ceiling lamp, Louis Poulsen, Denmark, 1960s–70s.
Frame in steel with brushed copper petals, manufacturer’s paper label LOUIS POULSEN & CO. A/S MADE IN DENMARK. Diameter 80 cm.
Estimate: SEK 50 000 – 60 000 / EUR 4 530 – 5 440
76. Poul Kjaerholm (Denmark, 1929–1980) a “PK54A” dining table, Fritz Hansen, Denmark, 2015. Leg frame in brushed steel, top in Italian grey/brown marble, extension ring in solid maple, manufacturer’s paper and metal labels. Height 72.5 cm, diameter 140 cm, diameter with extension ring 210 cm.
77. Arne Jacobsen (Denmark, 1902–1971) an “Egg” armchair with ottoman, Fritz Hansen, Denmark, 2001.
Black leather upholstery, swivel on a four-part base of brushed aluminium, loose cushion in the seat, manufacturer’s paper label. Height of the armchair 106 cm, height of the ottoman 38 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 440 – 7 250
78. Arne Jacobsen (Denmark, 1902–1971) a pair of “Swan” chairs, Fritz Hansen, Denmark, 1980.
Upholstery in brown leather, base of steel, manufacturer’s stamp and labels. Height 78 cm, seat height ca 41 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 530
79. Arne Jacobsen (Denmark, 1902–1971) a pair of “Swan” chairs, Fritz Hansen, Denmark, 1980.
Upholstery in brown leather, base of steel, manufacturer’s stamp and labels. Height 78 cm, seat height ca 41 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 530
80-81. No Lot.
82. Hans-Agne Jakobsson (Sweden, 1919–2009) an “Estrella” ceiling lamp model “T 580”, Hans-Agne Jakobsson AB, Markaryd, 1960s–70s.
Polished brass, six light points, glass pendants. Diameter 50 cm, height 43 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
83. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of “Estrella” wall lights model “T 580”, Hans-Agne Jakobsson AB, Markaryd, 1960s–70s.
Polished brass, two light points, glass pendants. Height 46 cm, depth 20 cm.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 360
84. Hans-Agne Jakobsson (Sweden, 1919–2009) a rare chandelier model “T 812/15”, Hans-Agne Jakobsson AB, Markaryd, 1970s. Frame in brass, fifteen lamp holders with glass shades, manufacturer’s paper label HANS-AGNE JAKOBSSON MARKARYD SWEDEN T 812/15.
Diameter 100 cm, total height 129 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
85. Bruno Mathsson (Sweden, 1907–1988) a rare set of three “Sonja” easy chairs/sofa modules, Dux, Sweden, 1970s.
Chromed steel frame upholstered in canvas, cushions upholstered in brown leather, marked DUX in the fabric. Length 63 cm, depth 80 cm, height 63 cm per chair. Total length approximately 189 cm.
Literature: Dag Widman, Karin Winter & Nina Stritzler-Levine, “Bruno Mathsson”, Arena 2006, model illustrated in a product catalogue p. 78.
Andreas Siesing, “Svenska 70-talsmöbler: i plast, stål, furu och manchester 1969-1980”, Lindelöws bokförlag 2021, compare p. 507.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
86. Gunnar Kanevad (Sweden, 1930–2019) a mirror, executed in his own studio, Linköping, 1980.
Stained wood, sculptured modules, signed and dated Kanevad 1980.
Height 120 cm, width 60 cm.
Estimate: SEK 10 000 – 12 000 / EUR 910 – 1 090
87. Olle Anderson (Sweden, 1939–) a black lacquered “Little Mama” cabinet, Horreds Möbelindustri, Sweden, 1981.
Black lacquered exterior with white lacquered details, chrome fittings, interior with shelves lacquered in various pastel colours. Height 140 cm, width 40 cm, depth 35 cm.
Exhibitions: The model premiered at the exhibition “Fantastiska skåp” (Fantastic Cabinets) at Form Design Center, Malmö, November 1982.
Literature: Mailis Stensman, “Olle Andersson Formgivare”, Bokförlaget Arena, 1999, model illustrated and mentioned pp. 72-73.
88. Robert Indiana (USA, 1928–2018) a carpet, ‘White on Black’, Chosen Love, hand tufted, ca 181 x 181 cm.
Cut decoration and signature in relief. A signed label is enclosed: numbered 40/300. The design LOVE was created by Robert Indiana in the 1960’s.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
89. Ernst Billgren & Mats Theselius (Sweden) a “Tronen” chair/sculpture, ed. 50/100, Källemo, Värnamo, post 1991.
Cast iron, partially enameled and set with mosaic, upholstered in elk leather, signed and numbered EB/MT 41/100. Length 34 cm, width 24 cm, height 36.5 cm.
91. Mats Theselius (Sweden, 1956–) a “Rex” easy chair, Källemo, Värnamo, post 1995.
Metal-plated iron frame, upholstered seat and back, upholstered in brown leather. Height 71 cm, seat height approx. 41 cm.
Provenance: The present chair is unmarked and executed outside the numbered edition of 200, purchased according to the receipt directly from Källemo in Värnamo in 2002.
92. Mats Theselius (Sweden, 1956–) a “Rex” easy chair, Källemo, Värnamo, post 1995.
Metal-plated iron frame, upholstered seat and back, upholstered in brown leather. Height 71 cm, seat height approx. 41 cm.
Provenance: The present chair is unmarked and executed outside the numbered edition of 200, purchased according to the receipt directly from Källemo in Värnamo in 2002.
93. Mats Theselius (Sweden, 1956–) a “Sheriff” swiveling armchair, Källemo, Värnamo, post 2003.
Frame in blackened steel, seat and back upholstered in leather, central column with five wheels, manufacturer’s paper label. Width 52 cm, adjustable seat height ca. 40 - 51 cm.
Green-lacquered alder wood on a granite base with a decoration of painted spots, two doors with handles of green-patinated bronze, four shelves, two of which have horseshoe-shaped metal inlays, numbered NR 52 and signed and dated Rolf Hanson -97 KÄLLEMO. Height 209 cm, width ca. 45 cm, depth ca. 43 cm.
High cone-shaped vase with printed motif in black against a yellow-toned background, signed and dated R ÅSA LINDSTRÖM 1991 UNIK. Height 96 cm.
Exhibitions: Kulturhuset, Stockholm, “Gnister”, a group exhibition together with Per B Sundberg, Gunilla Kihlgren and Ingela Karlsson, 1991.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
97. Peter Hermansson (Sweden, 1975–) a unique graal glass vase executed by glassblower Björn Friborg, Målerås, 2023.
Figurative decoration in black, white, and red against a lime green background, signed Peter Hermansson GRAAL UNIQUE MÅLERÅS 2023, glasblåsare (glassblower): Björn Friborg. Height 65.5 cm.
98. Mats Theselius (Sweden, 1956–) an “El Dorado” easy chair, ed. 143/360, Källemo, Värnamo, post 2002.
Birch, brass, natural-coloured leather, manufacturer’s label EL DORADO by Mats Theselius 2002 No 143/360 KÄLLEMO AB SWEDEN. Height 78 cm, seat height 47 cm, width 65 cm.
99. Mats Theselius (Sweden, 1956–) an “El Dorado” easy chair, ed. 218/360, Källemo, Värnamo, post 2002.
Birch, brass, natural-coloured leather, manufacturer’s label EL DORADO by Mats Theselius 2002 No 218/360 KÄLLEMO AB SWEDEN. Height 78 cm, seat height 47 cm, width 65 cm.
100. Mats Theselius (Sweden, 1956–) a “National Geographic 25th Anniversary Edition” cabinet, ed. 219/220, Källemo, Värnamo, post 2016. Clad in pattern-printed linen fabric, base in patinated brass with two drawers, manufacturer’s metal label National Geographic Mats Theselius 25 Year Anniversary Edition Källemo Sweden no. 219/220. Width 58 cm, depth 29 cm, height 171 cm.
101. Mats Theselius (Sweden, 1956–) a “The Ritz” armchair, ed. 65/90, Källemo, Värnamo post 1994.
Black lacquered steel frame, black-stained armrests with inlays of elk horn, rear legs with wheels, upholstered in black leather, metal labeled and numbered THE RITZ Mats Theselius 1994 No 3/90 KÄLLEMO AB VÄRNAMO SWEDEN. Height 87 cm.
102. Jonas Rooth (Sweden, 1961–) a glass chandelier, Kivik. Five curved candle arms with a total of 23 loose flower stems in two tiers, decorated in blue, green, pink, and yellow, signed Jonas Rooth #02164. Height 70 cm, diameter 58 cm.
Pentagonal, black with geometric sandblasted decoration, signed Oiva Toikka Nuutajärvi Notsjö with manufacturer’s label. Diameter 45 cm.
Estimate: SEK 6 000 – 8 000 / EUR 550 – 730 (d)
106. Arne Norell (Sweden, 1917–1971) an “Ari” easy chair with ottoman, Norell Möbel, Aneby, ca 2020. Chrome-plated steel, with cushions upholstered in gold-shimmering “Elmo Treasure” leather, manufacturer’s paper label. Height 77 cm, seat height 34 cm.
Provenance: Purchased at Norell Möbel in 2021.
Exhibitions: Reportedly, specially ordered with this upholstery for a furniture fair in 2020.
Estimate: SEK 35 000 – 40 000 / EUR 3 170 – 3 630
107. Arne Norell (Sweden, 1917–1971) a pair of “Ari” easy chairs, Norell Möbel, Aneby, 1960s–70s. Chromed frames, loose upholstered seating in black leather, manufacturer’s label NORELL Made in Sweden. Height 76 cm.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 530
108. Hans-Agne Jakobsson (Sweden, 1919–2009) a pair of “Klerk ceiling lamps model “C 2731/13”, Hans-Agne Jakobsson AB, Markaryd. Frame in brass, thirteen light points, manufacturer’s paper labels. Diameter 55 cm, total height 143 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
109. Hans-Agne Jakobsson (Sweden, 1919–2009) a “Selectra” ceiling lamp model “C 769/6”, Hans-Agne Jakobsson AB, Markaryd, 1960s–70s.
Shades of lacquered metal on a brass frame, manufacturer’s paper label HANS-AGNE JAKOBSSON AB MARKARYD Made in Sweden C 769/6. Length 64 cm, width 42 cm. Height of shades 24 cm, total height ca. 65 cm.
113. Mats Theselius (Sweden, 1956–) a “Grace” armchair, ed. 219/223, Källemo, Värnamo, post 2023.
Patinated copper plate, legs in bronze, upholstery in nubuck from Tärnsjö, manufacturer’s pewter plaque GRACE MATS THESELIUS KÄLLEMO 2023 219/223. Width 60 cm, depth 79 cm, height 80 cm, seat height ca 43 cm.
Frame with patinated iron, seat and back upholstered in horsehair, manufacturer’s metal label FÅTÖLJ JÄRN/TAGEL Mats Theselius Edition produced for Nordisk Möbelkonst 2020 12/49 Källemo Made in Sweden. Height 73 cm, seat height 46 cm.
Frame with patinated iron, seat and back upholstered in horsehair, manufacturer’s metal label FÅTÖLJ JÄRN/TAGEL Mats Theselius Edition produced for Nordisk Möbelkonst 2020 11/49 Källemo Made in Sweden. Height 73 cm, seat height 46 cm.
117. Studio Escapist (Sweden) a specially commissioned cabinet, executed by Tre Sekel, Tibro, 2024.
Lacquered in glossy burgundy, handles in oak, three pairs of doors with shelving and drawer interiors veneered in oak, manufacturer’s metal label on one drawer TRE SEKEL MÖBELSNICKERI. Length 228 cm, depth 50 cm, height 170 cm.
Provenance: Specially designed for a residential project in Stockholm.
Estimate: SEK 15 000 – 20 000 / EUR 1 360 – 1 820
120. Virgil Abloh (USA, 1980–2021) a carpet, ‘kvitto’ (‘Receipt’), IKEA x Virgil Abloh, the ‘MARKERAD’ collection, c. 200 x 90 cm.
Orange lacquered steel, marked with numbering V-VA-005 and manufacturer’s marks with material descriptions. Length 106.5 cm.
Exhibitions: The model was presented at the exhibition TWENTYTHIRTYFIVE at the Vitra Campus in Weil am Rhein, Germany during Art Basel in June 2019. The model is a reinterpretation of a lamp designed in 1942 by Jean Prouvé and was produced in a limited and numbered edition of 300.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
121A. A Vandra Rugs flat weave carpet, c. 208 x 183 cm A Herringbone structure with a stripe design in black and white.
122. Vladimir Kagan (USA, 1927–2016) a “Serpentine” sofa, Directional, USA, 1970s–80s.
Sculptural form, upholstered in brown textile. Length 240 cm, depth 105 cm, height 73 cm.
Estimate: SEK 50 000 – 75 000 / EUR 4 530 – 6 800
123. Ingo Maurer (Germany, 1932–2019) a “Birdie’s Nest”
ceiling lamp, Ingo Maurer, Germany, post 2005.
Goose feathers, metal arms, label marked. Diameter ca. 70 cm, height ca. 45 cm. Accompanied by original light bulbs, mounting tools, and manual.
Estimate: SEK 10 000 – 15 000 / EUR 910 – 1 360
124. Per Öberg (Sweden, 1954–) a prototype armchair, Jio Möbler for Per Öberg Arkitekt AB, Stockholm, 2022.
Legs in walnut, upholstered in the Nobilis fabric “Charmille”, manufacturer’s metal label Per Öberg Collection. Width 86 cm, depth 80 cm, height 110 cm.
Estimate: SEK 15 000 – 20 000 / EUR 1 360 – 1 820
125. Attila Suta (Sweden, 1976–) a unique cabinet, executed in his own studio, Stockholm, 2025.
Walnut, black-stained and polished ash, front with hand-painted and gilded floral decoration, interior with shelving and two drawers, branded Attila Suta Kunglig Hovleverantör. Width 92 cm, depth 53 cm, height 160 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630
126. Attila Suta (Sweden, 1976–) a unique coffee table, executed in his own studio, Stockholm, 2025.
Burl wood veneer, recessed insert in partially lacquered brass. Length 120 cm, width 120 cm, height 34.5 cm.
Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630
127. Attila Suta (Sweden, 1976–) a pair of bedside tables, executed in his own studio, Stockholm, 2025.
Walnut, black stained and polished ash, the front and sides with relief decoration, one drawer, branded Attila Suta Kunglig Hovleverantör. Width 45 cm, depth 45 cm, height 75 cm.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
128. Lars Tunbjörk (Sweden, 1956–2015) “Ransäter, 1991”.
From the series “Landet utom sig/ The Country besides itself”. Signed Lars Tunbjörk verso. Cibachrome, image 28 x 35.6 cm. Sheet 30.6 x 40.6 cm.
Literature: Maud Nycander, Göran Odbratt, Kathy Ryan, “Lars Tunbjörkretrospektiv”, 2018, illustrated on p. 63. Lars Tunbjörk, “Landet utom sig”, 1993, illustrated on full-page pl. 21.
129. Teitur Ardal (Sweden, 1985–) “Mt Fuji”, 2007. Signed Teitur and numbered 1/9 + 2 AP verso. Printed in 2017. Selenium-toned gelatin silver print, image 89 x 88 cm. Including frame 114 x 112 cm.
131. Kirsty Mitchell (Great Britain, 1976–) “The Fade of Fallen Memories”, 2014. From the series “Wonderwall”. Signed and numbered 2/7 on the accompanying certificate. Archival pigment print on Hahnemühle “Pearl” paper 69 x 100 cm.
132. Albert Watson (Great Britain, 1942–) “Naomi Campbell, Palm Springs, 1989”. Signed Albert Watson and numbered 15/25 verso. C-print, image 60 x 47.5 cm. Sheet 76 x 60 cm.
Literature: James Crump, ‘Albert Watson’, 2007, illustrated on full-page.
133. Brooks Kraft (USA, 1964–) “Storm clouds loom overhead as Air Force One and U.S. President George W. Bush arrive in Paris”, 2003. Signed Brooks Kraft and numbered 2/3. Archival pigment print, image 92 x 130 cm.
142. Hans Hammarskiöld (Sweden, 1925–2012) “Café Blanche”, 1950.
Signed Hans Hammarskiöld and dated 1950 verso. Also with gift dedication dated 2003 verso. Gelatin silver print, image 25 x 20 cm. Sheet 30 x 24 cm.
Provenance: Gift from the artist. Bukowski Auktioner, E708 Contemporary Art Online, 23 September 2021. Private Collection, Stockholm.
Exhibitions: “Fotografier av Hans Hammarskiöld”, Galleri Camera Obscura, Stockholm, 31 March - 5 May 1979, another exemple exhibited.
Literature: “Hans Hammarskiöld - Photographer,” exhibition catalogue, Camera Obscura, 1979, illustrated on the cover.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
143. Christer Strömholm (Sweden, 1918–2002) “Clips, Santa Monica, 1963”.
Signed CHR Strömholm and with fingerprint on the mount. Gelatin silver print mounted on cardboard, sheet 29.5 x 22.5 cm.
Provenance: Bukowski Auktioner, Höstens Contemporary 588, 2015, lot 206.
Exhibitions: Liljevalchs konsthall, Stockholm, “396 Fotografiska förälskelser”, 2001, another example exhibited.
Literature: Anders Jonason and Christer Strömholm, “Konsten att vara där”, 1991, illustrated full-page p. 93. Joakim & Jakob Strömholm, “Christer Strömholm 1918-2002, On verra bien”, 2002, illustrated full-page p. 133. Joakim Strömholm och Patric Leo (ed.), “Post Scriptum Christer Strömholm”, 2012, illustrated full-page p. 243.
Signed CHR Strömholm and with fingerprint verso. Gelatin silver print mounted on cardboard, image 28 x 21 cm. Sheet 35.8 x 26.4. The title is stated as “Hederliga John i St. Monica” on the mount.
Literature: Joakim Strömholm and Patric Leo (ed.), “Post Scriptum Christer Strömholm”, 2012, illustrated full-page p. 241.
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.
146. Lennart Olson (Sweden, 1925–2010) “Rött ljus/Red light, Stockholm”, 1970. With dedication and dated 2003. Gelatin silver print, image 23.5 x 18 cm. Sheet 30 x 22 cm.
Provenance: Gift from the photographer. Bukowski Auktioner, E708 Contemporary Art Online 23 September 2021. Private Collection, Stockholm.
Literature: Lennart Olson och Pontus Hultén, “Looking back”, 2001, illustrated p. 65.
“Self-portrait with Daniel, Andover, 1987”. Signed Arno Rafael Minkkinen verso. Unique. Gelatin silver print,image 23.5 x 18.6 cm. Sheet 25.3 x 20.3 cm.
Provenance: Acquired at a charity auction with the magazine FOTO, 2008, by the present owner.
148. Lennart Olson (Sweden, 1925–2010) “Emilia Romagna IV”, 1979. Signed Lennart Olson and dated 1983, marked 3. Vintage. Multiple gum-bichromate print, image 37 x 43.5 cm.
Literature: Lennart Olson, “Lennart Olson Photographs”, 1989, exhibition catalogue Fotografiska Museet/Moderna Museet, illustrated p. 89.
Signed Martin Schoeller and dated 2016, numbered 8/10, on the label verso. Archival pigment print mounted on aluminum and framed, image 49 x 40 cm, Including frame 60 x 50 cm.
Provenance: Camera Work, Berlin. Private Collection, Sweden.
150. Cindy Sherman (USA, 1954–) “Untitled (Secretary)”, 1977–1978. Signed Cindy Sherman and dated 1978/93, numbered 106/125, verso. Sepia-toned gelatin silver print, image 30.5 x 22.7 cm. Sheet 35 x 28 cm.
Exhibitions: Contemporary Art Museum St. Louis, ‘Cindy Sherman - Working Girl’, 16 September - 31 December 2005, another example exhibited.
Literature: David Frankel (ed.), ‘Cindy Sherman; The Complete Untitled Film Stills’, 2003, illustrated p. 11. Cindy Sherman, ‘Cindy Sherman - Working Girl’, 2006, illustrated on the cover.
Estimate: SEK 50 000 – 70 000 / EUR 4 530 – 6 340
151. Richard Misrach (USA, 1949–) “Stonehenge #4”, 1976. Signed Richard Misrach and dated 1976 verso. Vintage. Gelatin silver print, image 38 x 37.5 cm. Sheet 50,5 x 40.5 cm.
Provenance: Grapestake Gallery, San Francisco. Karin & Lars Hall Collection. Bukowski Auktioner, Höstens Contemporary 588, 11 November 2015, lot 243.
Estimate: SEK 35 000 – 40 000 / EUR 3 170 – 3 630
152. Francesca Woodman (USA, 1958–1981) “Untitled (from Eel Series)”, Venice, 1978. Estate stamp and signed by George and Betty Woodman, numbered 19/40, verso. Gelatin silver print, image 14.5 x 14.5 cm. Sheet 25.1 x 20.3 cm.
Exhibitions: Palazzo delle Esposizioni, Rome, “Francesca Woodman - Providence, Rome, New York”, 2 February - 27 March 2000, another example exhibited. Moderna Museet, Stockholm, “Francesca Woodman - On Being an Angel”, 5 September - 6 December 2015, another example exhibited. Foam Photography Museum, Amsterdam, “Francesca Woodman - On Being an Angel”, 17 December 2015 - 9 March 2016, another example exhibited. Fondation Henri Cartier-Bresson, Paris, “Francesca Woodman - On Being an Angel”, 9 May - 31 July 2016, another example exhibited. Moderna Museet, Malmö, “Francesca Woodman - On Being an Angel”, 5 November 2016 - 19 March 2017, another example exhibited.
Literature: Laura Liotti (ed.), “Francesca Woodman - Providence, Rome, New York”, 2000, exhibition catalogue Castelvecchi Arte, illustrated p. 127. Anna Tellgren (ed.), “Francesca Woodman - On Being an Angel”, 2015, Moderna Museet exhibition catalogue no. 387, illustrated p. 119.
153. Francesca Woodman (USA, 1958–1981) “Untitled”, Boulder, Colorado, 1972–1976. Estate stamp and signed by George and Betty Woodman and numbered 11/40 verso. Gelatin silver print, image 14.5 x 20.5 cm. Sheet 20.3 x 25.3 cm.
158. Max Modén (Sweden, 1974–) “Greta Thunberg and Barack Obama at the Grand Hotel”, 2019. Signed Max Modén on the label verso. Edition 4/35. Gelatin silver print, image 89 x 89 cm.
159. David LaChapelle (USA, 1963–) “Negative Currency: Fifty Dollar Bill Used As Negative”, 1990–2008.
Signed David LaChapelle and numbered 3/5 on the label verso. Chromogenic print mounted on plexiglass and framed, image 76.2 x 175.3 cm. Including frame 84 x 186 cm.
Provenance: Wolfgang Roth & Partners Fine Art, Florida. Bukowski Auktioner, Stockholm, Contemporary Art & Design 611, October 2018, lot 228.
162. John Coplans (Great Britain, 1920–2003) “Lying Figure, four panels”, 1990. Dated -90 and numbered 2/6 verso. Marked SP 17 90. Gelatin silver print, total image 34 x 108 cm. Including frame 56.5 x 131 cm.
From the series “1866”. Signed Denise Grünstein and dated 2015, numbered 3/3, verso. C-print mounted on aluminum and framed, 82 x 102 cm including frame.
167. Lennart Olson (Sweden, 1925–2010) “Brussels”, 1958.
Signed Lennart Olson. Gelatin silver print 40 x 48 cm.
Literature: “Broar”, 1991, Maneten Göteborg, exhibition catalogue, illustrated. Tio Fotografer, “Tio Fotografer: TIO 40”, 1998, exhibition catalogue, illustrated p. 47. Ulf Hård Af Segerstad, “From one side to the other. Bridges photographed by Lennart Olson”, 2000, illustrated p. 147. Lennart Olson och Pontus Hultén, “Looking back”, 2001, illustrated.
Signed CHR Strömholm and with fingerprint, dated 1990, verso. Also signed by the printer Örjan Kristensen verso. Gelatin silver print, image 27 x 20 cm.
Exhibitions: Liljevalchs konsthall, Stockholm, “396 Fotografiska förälskelser”, 2001, another example exhibited.
Literature: Christer Strömholm and Anders Jonason, “Konsten att vara där” 1991, illustrated on full page p. 145. Lars Hall and Gunilla Knape (ed.), “Imprints by Christer Strömholm - CHR”, 1998, illustrated full page p. 83. Joakim & Jakob Strömholm, “Christer Strömholm 1918-2002, On verra bien”, 2002, illustrated on full page p. 61. Joakim Strömholm (ed.), “Post Scriptum Christer Strömholm”, 2012, illustrated on full page p. 54.
168. Gunnar Smoliansky (Sweden, 1933–2019) “Hemma”, 1979. Signed Gunnar Smoliansky verso. Gelatin silver print, image 18 x 24 cm. Including frame 37 x 37 cm.
Literature: Henrik Nygren and Lars Forsberg (ed.), “Gunnar Smoliansky 1933–2019”, 2021, illustrated pl. 936. Gunnar Smoliansky et al., “Gunnar Smoliansky - One Picture at a Time”, 2008, illustrated full-page pl. 206, titled “Saltsjö-Boo, 1979”.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 360
169. Hans Runesson (Sweden, 1947–) “Kvinnan med handväskan”, 1985. Signed Hans Runesson and numbered AP 3/3 verso. Total edition of 12 + 3 AP. Gelatin silver print, image 53 x 79 cm.
Literature: Dagens Nyheter, 14 April 1985, illustrated. The Times, 15 April 1985, illustrated. The Daily Express, 15 April 1985, illustrated. LIFE Magazine, June 1985, illustrated. Årets bild, 1985, illustrated. The Guardian, “48 protest photographs that changed the world”, 2022, illustrated. Magasinet Filter, Simon Appelqvist, “Den bortglömda hjälten, del 1: Växjökravallerna, 1985”, #96 29 January 2024, illustrated. Digital: BBC Culture, Kelly Grovier, “The image that won’t go away”, 9 December 2016, illustrated. BBC Culture, “Celebrating 100 years of female defiance in photographs”, 2018, illustrated. BBC Culture, Fiona Macdonald, “International Women’s Day 2024: 12 iconic images of defiant women”, 8 March 2024, illustrated.
170. Mario Giacomelli (Italy, 1925–2000) “Scanno”, 1955–59. From the series “Scanno”, Abruzzo, Italy 1955–59. Photographer’s stamp verso. Gelatin silver print, image 30 x 40 cm.
171. Pentti Sammallahti (Finland, 1950–) “Swayambhunath, Nepal, 1994”. Signed Pentti Sammallahti and dated -94. Gelatin silver print, image 13 x 10 cm.
Signed Marchand and Meffre on the label verso. Printed in 2010. Edition 3/9. Lambda C-print mounted on aluminum and framed, image 95 x 120 cm. Including frame 99.5 x 124 cm.
Provenance: Gun Gallery, Stockholm. Bukowski Auktioner, Contemporary Art & Design 631, April 2021, lot 154.
Estimate: SEK 35 000 – 40 000 / EUR 3 170 – 3 630
172. Cindy Sherman (USA, 1954–) “Untitled (In honor of Mark Morrisroe)”, 1980–2000. Signed Cindy Sherman and dated 2000, numbered 58/75, verso. C-print, image 28 x 38.3 cm.
179. Fredrik Wretman (Sweden, 1953–) “Leo Castelli”, 1990.
Signed Fredrik Wretman and dated 90 verso. Unique. Cibachrome, image 119 x 210.5. Including original iron-frame, 123 x 215.
Provenance: Purchased directly from the artist by the then-owner in connection with the exhibition “A Museum Fill Out (American Floors),” 1991. Bukowski Auktioner, Vårens Contemporary & Design 585, 12 May 2015, lot. 271. Private Collection, Sweden.
Exhibitions: Borås Konstmuseum, Sweden, “A Museum Fill Out (American Floors)”, 1991.
Literature: Jan Åman, “Fredrik Wretman / American Floors”, 1991, illustrated.
181. Maria Miesenberger (Sweden, 1965–) “Utan titel (Bersån)”, 1993. From the series “Sverige/Schweden”, 1993–96. Signed Maria Miesenberger and dated 1993, numbered 7/10, on label verso. Gelatin silver print, image 28.5 x 44 cm. Including the artist’s frame 53 x 67.5 cm.
Provenance: Galleri Lars Bohman, Stockholm. Bukowski Auktioner, Höstens Contemporary 570, 14 November 2012, lot 234. Private Collection, Stockholm.
Exhibitions: Fotografiska Museet/Moderna Museet, Stockholm, “Prospekt”, 1993, another example exhibited.
Literature: Maria Miesenberger, “Works”, 1998, Galleri Lars Bohman, illustrated spread p. 16–17.
182. Ola Billgren (Sweden, 1940–2001) “Eftermiddag vid fönstret”, 1998.
Certified and numbered 3/3 verso by the artist’s wife Anita Nilsson Billgren. C-print, image 68 x 95 cm.
Estimate: SEK 15 000–18 000/ EUR 1 400–1 670 (d)
183. Gisèle Freund (Germany, 1908–2000) “Virginia Woolf, London, 1939”. Signed Gisele Freund and stamped verso. Gelatin silver print, image 29.5 x 22.7 cm. Sheet 39.7 x 30 cm.
Provenance: Directly from the artist. Bukowski Auktioner, Contemporary Art & Design 639, April 2022, lot 202.
Literature: Musee National d’art moderne Centre Pompidou, “Gisele Freund Itinéraires” , 1991, illustrated.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
Nan Goldin
Nan Goldin started her career in photography in high school, taking Polaroid pictures of her roommates in drag. Upending typical art hierarchies, she showed her work in her loft and in New York City nightclubs and bars in the late 1970s and ’80s, where the audience consisted “entirely of the people in the slide show, my lovers and friends.”
A pivotal component of Goldin’s oeuvre is “The Ballad of Sexual Dependency”, a slideshow comprising approximately 900 candid colour photographs of herself and her friends, spanning from approximately 1979 to 2004.
The series “Scopophilia”, including the work “Hair” was exhibited at Gagosian Gallery in 2014. The Greek term scopophilia literally means “love of looking,” but also refers to the erotic pleasure derived from gazing at images of the body. Goldin’s “Scopophilia” is both a slideshow and a photographic series, begun in 2010 when she was given private access to the Musée du Louvre every Tuesday, while the museum was closed to the public. During these privileged sojourns, she wandered and photographed freely throughout the museum’s renowned collections of painting and sculpture. Mixing impressions of paintings and sculptures in the Louvre collections with her own images dating back to the late 1970s, the series constructs a lively dialogue between human subjects past and present.
Goldin’s experiences at the Louvre confirmed that her artistic obsessions, such as sex, violence, rapture, despair and the mutability of gender, stem from deep imaginative currents in Western art history, mythology and religious iconography.
Goldin has been honored with several solo exhibitions at numerous acknowledged institutions such as Centre Pompidou in Paris, Tate Modern in London and Museum of Modern Art in New York, Moderna Museet in Stockholm, 2022, and The National Portrait Gallery, London, in summer 2023. She was awarded the Hasselblad Award in 2007 and was named a Commandeur of the Ordre des Arts et des Lettres in France in 2006. In 2012, Goldin was awarded the prestigious Edward MacDowell Medal, for her outstanding contribution to American culture and the arts.
Most of her career has also been defined by activism within her community: first, in the late 1980s, around the AIDS crisis, and then, beginning in 2017, Goldin started her activist group P.A.I.N. (Prescription Addiction Intervention Now), addressing the overdose crisis.
184. Nan Goldin (USA, 1953–) “Hair”, 2011–2014. Signed Nan Goldin and numbered A.P 2 on the label verso.
Total edition of 3 + 2 AP. C-print, image 114.3 x 149.9 cm. Including frame 117 x 152.5 cm.
Provenance: Gagosian Gallery, Rome. Private Collection, Stockholm.
Exhibitions: Gagosian Gallery, Rome, “Nan Goldin Scopophilia”, 21 March - 27 June 2014, another example exhibited.
187. Yves Marchand & Romain Meffre (France) “Book Depository, ex Roosevelt Warehouse, Detroit”, 2007. Signed Marchand and Meffre on the label verso. Printed in 2010. Edition 6/9. Lambda C-print mounted on aluminum and framed, image 95 x 120 cm. Including frame 99 x 124 cm.
Provenance: Gun Gallery, Stockholm.
Estimate: SEK 35 000 – 40 000 / EUR 3 170 – 3 630
188. Åke E:son Lindman (Sweden, 1953–)
“Prada, Marfa, TX”, 2015.
Archival pigment print mounted on acrylic glass, image 110 x 141 cm.
191. Terry O’Neill (Great Britain, 1938–2019) “Faye Dunaway, Hollywood, 1977”. Signed Terry O’Neill and numbered 18/50. C-print, image 111 x 111 cm. Certificate included.
Literature: Terry O’Neill, “Terry O’Neill: The A-Z of Fame”, 2013, illustrated p. 104 and fullpage p. 105.
193. Jacob Felländer (Sweden, 1974–) “Soho Empire”, 2009.
Signed Jacob Felländer and numbered 4/5 verso. Total edition of 5 + 2 AP. Certificate accompanies the work. C-print mounted on glass and framed, image 80 x 180 cm.
Provenance: Directly from the photographer of the present owner.
The artistic practice of Miriam Bäckström can be described as a study of the manner in which the human psyche perceives the relationship between image and reality. Her early works consisted of photographs of depopulated homes and deserted museum halls – scenographic setups in search of their human characters. This interest, in characters and roles, figures and shapes, and space and its experience, has been of central importance in Bäckström’s artistic oeuvre.
During the winter of 2002, Miriam Bäckström conducted a study at the Museum of Architecture in Basel, with the objective of documenting the transformation of light on one of the museum’s walls over the course of 24 hours. Subsequently, the museum room was recreated, now as a lit set in the film studio Studio 24 in Stockholm. The cinematographer, István Borbás, then proceeded to meticulously recreate the room and its lighting, drawing upon the photographic documentation from Basel as a reference. During the construction of the set, Bäckström positioned the camera in the corresponding location as in the room in Basel and continued the photographic documentation of the play of light across the room. A total of 29 variations of light were documented. The work incorporates both the actual and the reconstructed location, as well as the actual and the fictional day.
Bäckström’s oeuvre from this period can be categorised as part of a documentary tradition, in which the artist seeks out situations that are more or less staged. These situations may include, for example, the sorting and packing of an estate following the recent death of a relative; the requirement of a typical café setting for a film shoot; or the preservation of a stage set by a museum. The images are uncompromising in their directness, yet they are also layered, with multiple strata of fact and fiction. These depictions are characterised by their proximity to reality, which is noteworthy given the absence of first-hand experience.
In 2024, the large textile artwork ”Perfect Storm”, Bäckström’s site-specific work for the City Hall in Lund, was inaugurated.
Miriam Bäckström’s work is represented in the collections of the Moderna Museet, Stockholm, the Museum Folkwang, Essen, the Hasselblad Foundation, Gothenburg, and the Museum of Modern Art, New York och Tate Modern, London.
195. Miriam Bäckström (Sweden, 1967–) “29 Variations of Light”, 2002. Signed Miriam Bäckström and dated 2002 verso. Unique. 29 parts. Cibachrome mounted on glass 38.5 x 48.7 cm per part. Total dimension circa 220 x 320 cm.
Provenance: Aquired directly from the artist, 2003. Bukowski Auktioner, Stockholm, Contemporary 564, 16 November 2011, lot 279. Private Collection, Sweden.
196. Antanas Sutkus (Lithuania, 1939–) “Pioneer, Ignalina, 1964”.
Signed A. Sutkus verso. Gelatin silver print 56.7 x 48 cm.
Provenance: Directly from the photographer to the present owner.
Exhibitions: Moderna Museet, Stockholm, “Åter till verkligheten”, 9 May – 20 September 2009, another example exhibited.
Literature: Saulius Zukas (ed.), “Antanas Sutkus Photographs”, 2000, reproduced fullpage p. 44. Diane Neumaier and Jane Voorhees, “Beyond Memory: Soviet Nonconformist Photography and Photo-related Works of Art”, 2004, illustrated on p. 252. Margarita Matulyte, “Antanas Sutkus: Retrospective”, 2009, illustrated on front cover and p. 121. Anna Tellgren, “Åter till verkligheten. Fotografi ur Moderna Museets samling”, 2010, reproduced fullpage pl. no 224. Antanas Sutkus, “Lietuvos Žmonės/People of Lithuania”, 2015, illustrated on p. 113.
Signed A. Sutkus verso. Gelatin silver print, image 48 x 32 cm. Sheet 50,7 x 40.3 cm.
Provenance: Directly from the photographer to the present owner.
Estimate: SEK 6 000 – 8 000 / EUR 550 – 730 (d)
198. Antanas Sutkus (Lithuania, 1939–) “A Village Street 1, Dzukija, 1969”. Signed A. Sutkus verso. Gelatin silver print, image 37 x 37 cm. Sheet 39 x 39.5 cm.
Provenance: Directly from the artist to the present owner.
Estimate: SEK 6 000 – 8 000 / EUR 550 – 730 (d)
199. Pentti Sammallahti (Finland, 1950–) “Erdőbénye, Unkari, 1979”.
Signed Pentti Sammallahti. Dated 29 June 2000 verso. Gelatin silver print, image 19.5 x 27.5 cm.
Provenance: Acquired directly from the photographer, thence by descent to the present owner.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
200. Pentti Sammallahti (Finland, 1950–) “Jyskyjärvi, Vienan Karjala, 1992”.
Signed Pentti Sammallahti. Gelatin silver print, image 14 x 37 cm.
Provenance: Acquired directly from the photographer, thence by descent to the present owner.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
201. Sune Jonsson (Sweden, 1930–2009) “Kammarinteriör hos änkefru Jenny Edström, Hökmark, Lövånger socken”, 1960. From the series “Bilder av Nådens barn”. Signed Sune Jonsson verso. Gelatin silver print, image 26 x 28 cm.
Literature: Sune Jonsson, “Bilder av Nådens barn”, 1963, illustrated p. 93.
206. Camilla Åkrans (Sweden, 1977–) “Floating Anna”, 2009. Signed Camilla Åkrans and numbered 1/3 on label verso. Total edition 3 + 2 AP. Printed in 2017. Signed certificate accompanies the work.
C-print, image 61 x 91 cm.
Provenance: CFHILL + Fotografiska, Stockholm, 2017.
207. Dan Wolgers (Sweden, 1955–) “Spegel med upp och nedvänd stol”.
Signed Dan Wolgers and numbered 1/7. Photogravure on paper, plate size 18 x 18 cm.
Provenance: Galleri Riis, Stockholm.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
208. Charles Gatewood (USA, 1942–2016) “New Orleans”, 1973.
Signed Charles Gatewood on the label verso. Vintage. Gelatin silver print, image 25 x 18.5 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 720
209. Steve Schapiro (USA, 1934–) “Marlon Brando in ‘The Godfather’ New York”, 1971. Signed Steve Schapiro and stamped, numbered 12/25, verso. Printed later. Gelatin silver print, image 31.5 x 48 cm.
Estimate: SEK 18 000 – 20 000 / EUR 1 630 – 1 820
210. Juliana Beasley (USA, 1967–) “New York Jets”, USA, 1999. From the series “Lapdancer”, 1995–2002. Signed Juliana Beasley and dated 8/30/05 “New York Jets” 11/99 verso. Numbered 1/10. Cibachrome print, image 38,5 x 57,5 cm. Including frame 65 x 81 cm.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
211. Brooks Kraft (USA, 1964–) “Obama in Rain”, 2012. Signed Brooks Kraft and numbered 12/15. C-print, image 64 x 90 cm. Including frame 76,5 x 106 cm.
Provenance: Tres Hombres Art, Halmstad.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 440
212. David Drebin (Canada, 1970–) “Below the Surface”, 2020. C-print framed with light-box 156 x 158 x 6 cm including the box.
Provenance: Contessa Gallery, Lyndhurst, Ohio.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 440
213. Olafur Eliasson (Iceland, 1967–) “Big stone”, 1995. From “Stenserie”, 1993–2005. Signed Olafur Eliasson and dated 1995 and numbered 3/3 verso. C-print mounted on aluminum and framed, image 100 x 100 cm.
From the series “Casting, 2018”. Signed Denise Grünstein and dated 2023, numbered 2/2 AP verso. Total edition of 3 + 2 AP. C-print mounted on aluminum and framed 82 x 102 cm including frame.
Estimate: SEK 40 000–60 000 / EUR 3 720–5 580 (d)
216. Lennart Nilsson (Sweden, 1922–2017) “Rymdfararen”, 1965.
From “A Child is Born”. Signed with a gift dedication “To Kerstin from Lennart 1999”. Cibachrome, image 48 x 38.5 cm.
Literature: Lennart Nilsson and Lars Hamberger, “Ett barn blir till”, 1995, illustrated full page p. 106.
217. William Anastasi (USA, 1933–2023) “Maintenance II (Self-Portrait)”, 1968. Signed William Anastasi on the back of the frame. Gelatin silver print, image, image 8.2 x 11.2 cm. Sheet 12.5 x 14.5 cm.
Provenance: Anders Tornberg Gallery, Lund.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
218. Emil Heilborn (Sweden, 1900–2003) “Vårhälsning”, 1934. Signed Emil Heilborn verso. Gelatin silver print, image 29 x 26 cm. Sheet 40.2 x 30.2 cm.
Literature: Petter Österlund, “Emil Heilborn”, 2003, illustrated on p. 46.
Estimate: SEK 8 000 – 10 000 / EUR 730 – 910 (d)
219. Lennart Olson (Sweden, 1925–2010) “Tre Tjörnbroar”, 1961. Signed Lennart Olson. Also signed and dated 1976 verso. Gelatin silver print, image 16.5 x 36.5 cm. Sheet 50.5 x 40.3 cm.
Provenance: Acquired directly from the photographer by the present owner.
Literature: Lennart Olson, “Lennart Olson. Fotografier”, 1989, illustrated.
220. Hans Hammarskiöld (Sweden, 1925–2012) “Carl Sandburg”, 1959.
Signed Hans Hammarskiöld/TIO and numbered 52/100. Copyright stamp verso. Printed in 1976. Gelatin silver print, image 36.5 x 27.5 cm. Sheet 39.2 x 29.5 cm.
Literature: Kurt Mälarstedt, “Foto Hammarskiöld - Tiden och ljuset”, 2008, illustrated on p. 101.
221. Ellen von Unwerth (Germany, 1954–) “Naomi Campbell, from the Azzedine Alaïa Spring/Summer Campaign, 1991”.
Signed Ellen von Unwerth on the label verso. Printed in 1996. Edition 1/30. Gelatin silver print, image 124 x 190 cm.
Provenance: Acquired directly from the photographer by the former owner in the 1990s. Bukowski Auktioner, sale E537, May 2020. Private Collection, Stockholm.
Signed M.L De Geer-Bergenstråhle and dated 1973. Canvas 20 x 15.5 cm.
Exhibitions: Moderna Museet, Stockholm, “Marie-Louise Ekman”, 17 June – 17 September 2017. Sven-Harrys Konstmuseum, Stockholm, “Party for Öyvind”, September 2021 - January 2022 and Museum Tinguely, Basel, 16 February – 1 May 2022.
Literature: Maria Lind (ed.), “Marie-Louise Ekman”, 1998, illustrated on p. 47. Klas Gustafson, Marie-Louise Ekmans två liv”, 2015, illustrated on full page p. 130. Moderna Museet, “Marie-Louise Ekman”, 2017, illustrated on full page p. 82.
Signed Joakim Ojanen and dated 2015. Glazed ceramic. Height 27 cm.
Provenance: Karl-Erik Johanssons Collection, Sweden. Bukowski Auktioner, Contemporary Art & Design 623, 17 June 2020, lot 1203. Acquired from the above by the present owner.
Signed K. Kristalova and dated 2007. Glazed ceramic. Height 29 cm.
Provenance: Galleri Magnus Karlsson, Stockholm. Bukowski Auktioner, Contemporary Art & Design 646, 26 April 2023, lot 319. Private Collection, Stockholm.
Signed Rolf Hanson and dated 1993 verso. Oil on panel 122 x 144 cm. Exhibitions: Riksutställningar and the Moderna Museum’s International Program.”Samlat Ljus”, Tour 1998–2000. RMIT Gallery, Melbourne, Australia Drill Hall Gallery, Canberra, Australia Ivan Dougherty Gallery, Sydney, Australia Lawrence Wilson Art Gallery, Perth, Australien. LASALLE SIA collage of Arts Gallery, Singapore. Båtsmanskasernen, Karlskrona. Konstens Hus, Luleå. Vikingsbergs Konstmuseum, Helsingborg. Gotlands Konstmuseum. Södertälje Konsthall. Centro Cultural Borges, Buenos Aires, Argentina.
241. Roj Friberg (Sweden, 1934–2016) “Arvfurstens palats”.
Signed Rf and dated -00. Mixed media on paper 87 x 106 cm.
Literature: Roj Friberg, Crispin Ahlström och Gunnar D. Hansson, “Roj Friberg”, 1990, cf p. 48. Roj Friberg och Poul Anker Bech, “Roj Friberg”, 2000, illustrated p. 10–11. Lars Nygren,”Roj Friberg”, 2010, illustrated p. 110.
Ulla Wiggen, born in 1942, is an artist with a sparse yet distinctive body of work. Between 1964 and 1969, she produced around thirty paintings, most of which depict the inner workings of electronic devices. Sometimes these are direct representations that reveal existing connections; at other times she assembled components from different sources. She would use images from specialised computer journals, freely chosing parts and combining them into her own new systems.
Wiggen was one of the first to claim the new electronic technology as a subject for painting. She was fascinated by the world of circuit boards and diagrams and was allowed to borrow a few to use as models in her painting. Her paintings from this period can be seen as images beneath the surface of an approaching digital world—at once portraits and painterly experiments situated in the borderland between concrete realism and abstraction.
The Swedish art critic Sebastian Johans, writing about Wiggen’s 2025 solo exhibition at Västerås Art Museum, observes:
"Seeing and using one's vision to orient oneself, rather than interpreting and understanding, appears to be at the core of Wiggen's images. Even her early technical images, which carefully observe and portray electronic components, electrical diagrams and the like, rely entirely on sight. They do not attempt to understand or reveal any meaning – the motifs are often composed in a way that does not reflect their function; the circuit diagram, for example, would lead to a short circuit. Rather, they look in order to familiarise themselves. So that what is being viewed does not appear alien. To create closeness. Not to completely bridge a distance, but to reduce it as much as possible. It is a very sympathetic approach. Fundamentally, we are all alone; that is our existential lot, but we can still stand side by side. And to get close, we must see.”
In the past decade, Wiggen has staged a remarkable comeback. Moderna Museet “rediscovered” her in 2013 when it exhibited her paintings from the 1960s and 70s in Moment – Ulla Wiggen. After a break of nearly thirty years, she returned to painting, this time turning inward to the body—depicting the brain, skeletal structures, ribs, and intestines.
In 2022, the year she turned eighty, Wiggen exhibited in the main exhibition of the Venice Biennale. In the years leading up to that, she held several solo exhibitions, and in 2019 she appeared on the cover of the prestigious art magazine Artforum. Today, the collection of Moderna Museet in Stockholm includes both her early “electronic paintings" and her later works.
243. Barbro Östlihn (Sweden, 1930–1995) “Fuller II”. Signed Östlihn and dated 1988 verso. Oil on canvas 96 x 96 cm.
Provenance: Galerie Aronowitsch, Stockholm. Bukowski Auktioner, Contemporary Art & Design 650, 25 October 2023, lot 419. Private Collection, Stockholm.
Exhibitions: Galerie Aronowitsch, Stockholm, October 1988.
247. Martin Wickström (Sweden, 1957–) “The Silence of the Woodpecker”. Signed Martin Wickström and dated 1992. Unique. Oil on masonite, MDF box, glass, plastic, metal, wood, light fittings 33 x 43 x 30.3 cm.
Provenance: Acquired directly from the artist by the present owner.
250. Ernst Billgren (Sweden, 1957–) “Herre på täppan”. Signed EB a tergo. Executed in 1993. Mixed media and mosaic on panel in artist’s frame 75 x 85 cm.
254. Jacob Dahlgren (Sweden, 1970–) “Peinture Abstraite, numéro cent vingt six”. Signed Jacob Dahlgren and dated 2006 verso. Acrylic on MDF 27.6 x 29 cm.
255. Lars Lerin (Sweden, 1954–) “Syrien III”. Signed Lars Lerin and dated 2015. Watercolour 103 x 153 cm. Provenance: Bohman-Knäpper, Stockholm. Private Collection, Sweden. Exhibitions: Liljevalchs konsthall, Stockholm, “Lars Lerin”, 16 May - 9 September 2018, illustrated on spread.
Literature: Lars Lerin, “En viss mängd ljus”, 2019, illustrated. DN Kultur, 17 May 2018, illustrated. Jan Åke Petterson, Øivind Storm Bjerke, “Lars Lerin”, 2017, illustrated.
257. Ulf Rollof (Sweden, 1961–) “RGB Navy Blue, Lavender, Dark Purple”. Signed Rollof and dated 2007. Triptych. Acrylic, float glass and holder in metal, shot with 9 mm revolver shots 99 x 69 cm per part.
258. Elisabeth Frieberg (Sweden, 1977–) “Blue, Gold, Rain, Small”. Signed E. Frieberg and dated 2017 verso. Oil on linen canvas 38 x 31 cm. Including the artist’s frame 41.3 x 34 cm.
Provenance: Acquired directly from the artist by the present owner.
Lena Cronqvist is widely regarded as one of Sweden’s most significant and influential artists, with a career that spanned over five decades. Born in Karlstad and educated at the Bristol School of Art in England as well as the Royal Institute of Art in Stockholm, she developed a distinctive style of painting characterised by technical precision and profound emotional depth. Through her raw and emotionally charged imagery, she explored the paradoxes of motherhood, the shadows of childhood, and the relentless flow of time. Drawing inspiration from modernism and Edvard Munch, she transformed personal experiences into universal narratives characterised by profound psychological depth and evocative power. Her practice encompassed three distinct disciplines of artistic expression, namely painting, printmaking, and sculpture, and her oeuvre is distinguished by a seamless transition between these forms. Each of her works is characterised by a profound sense of emotion and meticulous attention to technical detail.
Her reinterpretation of Jan van Eyck’s ’The Arnolfini Portrait’ in ’Trolovningen’ (1974/75) is widely considered to have marked a significant milestone in the art world when it sold at Bukowski’s contemporary spring sale in 2016 for a sum exceeding 11 million SEK. This represented the highest price ever paid for a work by a living Swedish artist at that point in time. Lena Cronqvist’s artistic oeuvre is characterised by its boldness and potency, qualities which persist in evoking a sense of movement, provocation, and inspiration. The legacy she left behind is both boundless and timeless, serving as a testament to art’s capacity to delve into the profound depths of the human experience.
259. Lena Cronqvist (Sweden, 1938–2025) Untitled.
Signed Lena Cronqvist and dated 1994. Tempera and oil on canvas 43 x 46 cm.
Provenance: Blomqvist, Norway, “Contemporary and Modern”, 20 March 2018, lot 5.
262. Lena Cronqvist (Sweden, 1938–2025) “På Promenad”. Signed LC and numbered 5/5. Foundry stamp Herman Bergman. Executed in 1993–94. Bronze, dark patina. Height 21 cm. Width 18.3 cm.
Provenance: By descent to the present owner.
Literature: Galleri Lars Bohman, “Lena Cronqvist, Skulpturer, 1993–1995”, illustrated p. 34.
In a period when many artists were breaking away from traditional representation—driven above all by the American currents of Abstract Expressionism and Pop Art—Lena Cronqvist chose a different path. She remained committed to figuration and to a deeply personal subject matter, an approach she has sustained throughout her career.
Her hallmark style consists of full-length depictions of children, most often young girls, whose seemingly playful scenes conceal unsettling, sometimes grotesque undertones. In numerous works the children interact with dolls that serve as stand-ins for their parents. At times these appear in innocent, dollhouse-like role reversals that destabilize familial hierarchies; in other instances, the dolls are subjected to violent or sexually charged acts. These images confront the anxieties and struggles of growing up—concerns that later re-emerge in Cronqvist’s selfportraits as an older woman, where the tension shifts from childhood to the realities of aging. The dynamic has reversed: now it is the girls who resemble dolls, subject to her control in gestures marked by both urgency and release.
“Vilken hand?” (Which Hand?) revisits Cronqvist’s autobiographical reflections on childhood. The composition is stripped down, yet its atmosphere is heavy with intensity. A solitary girl stands on a beach, her face unusually pensive and tinged with sadness for her age. Her features recall photographs of Cronqvist herself as a child, and reappear throughout her work in the recurring figure of the elder sister. The painting’s title alludes to a hidden choice: the girl clasps something in each hand behind her back, offering the unseen counterpart before her only one. Could these be the parental dolls so central to Cronqvist’s imagery? Despite the presence of a cat and a dog, the child’s solitude and melancholy imbue the picture with existential gravity. It remains one of Cronqvist’s most emblematic works—at once restrained and charged, rooted in personal memory yet resonating on a universal level.
263. Lena Cronqvist (Sweden, 1938–2025) “Vilken hand?”. Signed Lena Cronqvist and dated 1990. Tempera and oil on canvas 136 x 90 cm.
Provenance: Galleri Lars Bohman, Stockholm. Bukowski Auktioner, Contemporary Art & Design, 27 April 2004, lot 477. Christies, London, Nordic Art and Design, 26 June 2007, lot 114. Acquired from the above by the present owner.
Exhibitions: Gallery Lars Bohman, Stockholm, 1991. Värmlands Museum, Karlstad, “Lena Cronqvist - Retrospective Exhibition”, 18 January - 1 March 1992, cat. no 25. Liljevalchs konsthall, Stockholm, “Lena Cronqvist”, 2 September - 16 October 1994, cat. no 180. Konsthallen, Gothenburg, “Lena Cronqvist”, 22 October - 10 November 1994. Malmö Konstmuseum, “Lena Cronqvist”, 27 September 2003 - 18 January 2004. Tikanoja konsthem, Vaasa, Finland, “Lena Cronqvist”, 8 February - 21 March 2004. Munch Museum, Oslo, “Head by Head”, 28 October 2017 - 28 January 2018. Prins Eugens Waldemarsudde, Stockholm, “Lena Cronqvist” 7 May - 29 September, 2020, cat. no 68.
Literature: Ingela Lind (ed.), “Lena Cronqvist, Målningar 1964-1994”, illustrated full page p. 161, also cover image. Mårten Castenfors, “Lena Cronqvist”, 2003, illustrated full page p. 91. K. Macleod, “Lena Cronqvist: Reflections of Girls”, 2006, illustrated p. 63. Karin Sidén och Catrin Lundeberg (ed.), “Lena Cronqvist”, Prins Eugens Waldemarsuddes utställningskatalog 135:20, 2020, illustrated.
Lökholmen is an early major work in Gunnel Wåhlstrand’s artistic career and is part of a suite of six monumental ink wash paintings presented in her graduation exhibition at the Royal Institute of Art in Stockholm in 2003. The exhibition marked a decisive breakthrough for the artist, with several works acquired by Magasin III, laying the thematic foundation that has continued to shape Wåhlstrand’s artistic practice ever since.
The motif is typical of her work during this period: a family in an archipelago landscape, depicted with photographic precision that evokes both intimacy and nostalgia. The picnic basket, the Twist candy tin, and the Swedish cliffs anchor the scene in the 20th-century Swedish welfare state, while the composition and lighting imbue the image with a quiet gravity. The everyday becomes visual poetry.
Wåhlstrand works from black-and-white family photographs, primarily from the 1940s to 1960s, often taken by her grandfather. By translating these images into inkwash, she transforms them from private memory fragments into universal, timeless reflections on presence, absence, and memory. Her father passed away when the artist was one year old, and art became a way to approach him through the images in which he once appeared. Her method is both controlled and emotionally charged: each painting is a painstaking and time-consuming process, where ink is applied in thin layers to build up depth, shadows, and highlights with meticulous precision. A single misplaced drop can ruin weeks of work.
In Lökholmen, the technical and emotional aspects are united with particular clarity. The work is large in scale but marked by intimacy. Light falls over the figures with a soft shimmer, and the sharp contrasts between light and shadow emphasize the sunny summer day - while also hinting at an underlying stillness, a mood that recurs in Wåhlstrand’s work and often evokes scenes from a life where something has happened, or is just about to happen.
Since her debut, Wåhlstrand has exhibited at institutions such as Moderna Museet, Magasin III, Nordiska Akvarellmuseet and Prins Eugen’s Waldemarsudde. Her works are found in numerous public and private collections, including the Public Art Agency Sweden, Moderna Museet, Malmö konstmuseum, Uppsala konstmuseum, and the UBS Art Collection in Zurich.
Through her uncompromising technique, slow painting process, and thematic consistency, Gunnel Wåhlstrand has developed an artistic practice that unites the personal with the universal. Lökholmen is a work that bears the marks of this balance - between the documentary and the poetic, between representation and interpretation, between what has been and what is still unfolding.
Signed Gunnel Wåhlstrand and dated Stockholm 2002 on label verso. Inkwash on paper 180 x 123 cm.
Provenance: Andréhn-Schiptjenko, Stockholm. Bukowski Auktioner, Vårens Contemporary 573, 14 May 2013, lot 421. Private Collection, Sweden.
Exhibitions: Royal Academy of Art, Stockholm, Master Exhibition, 2003.
Literature: Gunnel Wåhlstrand, Jesper Sharp, Ben Street and David Neuman, “Gunnel Wåhlstrand”, 2013, illustrated full page p. 24 and illustrated p. 71. David Neuman, Lars Norén, Bronwyn Griffith and Gunnel Wåhlstrand, “Gunnel Wåhlstrand”, 2017, illustrated(…).
276. Siri Berg (USA, 1921–2020) Untitled. Signed Siri Berg verso. Acrylic on canvas 71 x 71 cm.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 720
Cajsa von Zeipel
Cajsa von Zeipel’s sculpture "Rabbit" (2013) is a representative work of her characteristic artistic expression - where classical sculpture meets contemporary themes such as gender, identity, and power. With large scale, white plaster, and an androgynous body in a playful yet challenging pose, "Rabbit" combines tradition and norm critique in a way that has become typical for von Zeipel’s practice.
The figure in "Rabbit" sticks out its tongue and holds up its hands like rabbit ears - a gesture that is both childlike, confident, and defiant. This attitude recurs in many of von Zeipel’s works, where youth culture, queer expressions, and body ideals meet the sculptural language traditionally used to depict male heroes in marble. Here, history is turned around, and the sculpture becomes a way to make room for bodies and identities that have often been made invisible in art history.
The sculpture is hand-modeled in white plaster - a material that both references classical sculptural ideals and questions them. Von Zeipel does not use it to reinforce ideas of eternal truths, but to challenge them. The monumental scale enhances the figure’s presence and makes it impossible to ignore.
"Rabbit" was exhibited in 2015 at Millesgården in Stockholm, in the exhibition ZOO COLLECTIVE: Cajsa von Zeipel vs. Carl Milles. There, von Zeipel’s works were placed in direct dialogue with Milles’, and the artist herself highlighted the similarity in their craftsmanship - both work on a large scale, by hand and directly in plaster. But while Milles celebrated mythological and masculine ideals, von Zeipel highlights contemporary bodies shaped by complex identities.
Cajsa von Zeipel (born 1983 in Gothenburg) has had a rapid international career since graduating from the Royal Institute of Art in 2010. Her works have been exhibited at Rubell Museum in both Miami and Washington D.C., Museum of Modern Art in Warsaw, Kunsthalle Düsseldorf, Athens Biennale, Copenhagen Contemporary, and Moderna Museet in Stockholm. Solo exhibitions include Company Gallery in New York (DASH, 2025), Andrehn-Schiptjenko in Paris (Alternative Milk, 2022), and Cherish in Geneva.
She is today represented in several important collections, including Moderna Museet, Göteborgs konstmuseum, Rubell Museum, Onassis Foundation, Faurschou Foundation, and 21c Museum.
With its blend of classical technique and contemporary themes, "Rabbit" is a work that clearly bears von Zeipel’s signature. It combines craftsmanship with a strong commentary on our time - where the body becomes a bearer of questions about identity, norms, and representation. "Rabbit" is not just a sculpture to look at, but a work that actively engages in a dialogue with the viewer, art history, and our present day.
277. Cajsa von Zeipel (Sweden, 1983–) “Rabbit”. Executed in 2013. Mixed media. Height 165 cm.
Provenance: Andréhn-Schiptjenko, Stockholm. Private Collection, Sweden.
Exhibitions: Millesgården, Stockholm, “ZOO COLLECTIVE Cajsa von Zeipel vs. Carl Milles”, 21 February - 22 March 2015 (see exhibition image).
Signed Rolf Hanson verso. Executed in 1990. Panel 148 x 180 cm.
Provenance: Björn Bengtsson Collection, Varberg.
Literature: Lars-Göran Oredsson,” Svensk Nutidskonst 6, Rolf Hanson”,1994, illustrated on p. 30. Lars Nittve (ed.), “Rolf Hanson”, 1995, illustrated on p. 12.
Executed in 2009/2010. Oil on acrylic glass mounted together, 10 panels, each 202 x 33 cm. The complete sculpture height 202 cm, length 100 cm x width 100 cm.
Provenance: Sivert Oldenvi Collection.
Exhibitions: Galerie Nordenhake, Stockholm, “Håkan Rehnberg – Counter-moment”, 2010. Moderna Museet, Stockholm, “Håkan Rehnberg - Dubbel scen”, January 2015.
Literature: Moderna Museet, Stockholm, “Håkan Rehnberg - Dubbel scen”, 2015, exhibition catalogue, illustrated.
The auction’s painting “Det trasiga rummet” is a powerful example of Linn Fernström’s ability to transform the everyday into something both beautiful and deeply unsettling. In the work, we encounter a familiar, almost idyllic interior space, but something feels off - as the title suggests, this is not a safe home, but a room where existence has quite literally and symbolically fallen apart.
The painting, which was exhibited in “Linn Fernström” at Galleri Lars Bohman in 2005, contains many of the recurring motifs from Fernström’s visual world: the child with severed arms, the tiger cub, the threads hanging from the sky, and not least the artist herself here depicted in a vividly pink armchair, lying with closed eyes and pens in hand.
It is a scene frozen in time, like a surreal still life, where we cannot tell whether the figures we observe are alive or dead. On the table in front of them lies a photograph, a memory of joy acting as a visual contrast to the quiet horror in the room.
Fernström uses the paradoxical as an artistic language. What at first appears bright, beautiful, and childlike - a tiger cub playing with threads, a soft sofa, a child’s gaze -gradually transforms into its opposite: absence, loss, a silent cry for help.
As Mårten Castenfors expressed in connection with the exhibition at Galleri Lars Bohman in 2005, Fernström acts as a “disruptive signal in everyday life.” She unsettles our habitual ways of seeing reality and compels us to confront what we would rather ignore.
It is this apparent simplicity combined with emotional complexity that makes “Det trasiga rummet” a key work in Fernström’s oeuvre. Here, many of her central themes are concentrated: bodily fragmentation, the recurring self-portrait, the interplay between childhood and loss, play and death.
Through her technical skill and her ability to combine drawing and painting into a dreamlike flow, Fernström transcends traditional figurative painting and leads us into a borderland - where time, memory, and identity merge.
Linn Fernström (born 1974 in Örebro) has, since her breakthrough at Galleri Mejan in 1999, established herself as one of Sweden’s most significant contemporary artists. She is educated at the Royal Institute of Art, and her works are included in several of Sweden’s major art collections, such as Moderna Museet and Malmö Konstmuseum.
284. Linn Fernström (Sweden, 1974–) “Det trasiga rummet”. Signed Linn Fernström and dated 2005 verso. Oil on canvas 170 x 240 cm.
Provenance: Galleri Lars Bohman, Stockholm. Stockholms Auktionsverk, “Modern Art & Works of Art”, 25 April 2008, lot 1199. Private Collection, Sweden.
Literature: Galleri Lars Bohman, Stockholm,, “Linn Fernström”, 2005, illustrated full page p. 77.
286. Fredrik Söderberg (Sweden, 1972–) “Das Haus des C.G Jüngs mit Khonsu und Der Traum III”. Signed Fredrik Söderberg and dated 2013 on the label verso. Diptych. Watercolour, gold leaf and palladium leaf on paper. The panels measures 198 x 107 and 198 x 146 cm.
Provenance: Galleri Riis, Oslo.
Exhibitions: Galleri Riis, Oslo, “I am He who Buries the Gods in Gold and Gems”, 10 October – 16 November 2013.
287. Maria Miesenberger (Sweden, 1972–) “Reflection on the Presence of Time (Decay) #3”. Signed MM and dated 2013/2023, numbered 4/5. Bronze, patinated and valchromat. Height 45 cm. Steel pedestal 109.5 cm.
Provenance: First prize in the SEB art lottery (Östergatan, Malmö), late 1990s. Bukowski Auktioner, Vårens Contemporary 592, 2016, lot 146. Private Collection, Sweden.
Jan Håfström has, since the 1960s, developed a multifaceted and complex artistic practice that constantly seeks new paths. He has alternated between painting and installations, shifting between figurative and abstract painting, creating films, sculptures, and also working as an art critic.
A major source of inspiration for Håfström is literature. The work in this auction – “The Eternal Return” – has a connection to Joseph Conrad’s novel “Heart of Darkness”, published in 1902. At the same time, the title “The Eternal Return” refers to a concept found above all in Friedrich Nietzsche’s work – a designation for the idea that world history repeats itself over and over again. Håfström also draws inspiration from comic strips, with the enigmatic Mr. Walker, known from the world of comics, at the center of events. Bukowski Auktioner is proud to present one of the most complex and magnificent artworks of our time.
Monica Nieckels, former curator at Moderna Museet, writes about Jan Håfström:
”They lay in a suitcase in the attic, Jan Håfström’s pictures, hundreds of drawings depicting fantastic adventures and ideas about life and the world. Childhood landscapes with maps, places and events. His mother had saved them. The suitcase became a flying carpet, a joyful source and a memory bank from which to draw inspiration and travel back in time.
Since the 1960s, Jan Håfström has been an important and clearly shining star in Swedish art and cultural life. It was then that he graduated from the Royal Academy of Fine Arts in Stockholm and painted ‘Skogen’ (The Forest) in 1968 and later ‘Farmor’ (Grandmother) in 1972, both of which have become classics and have long been on display in the Moderna Museet collection.
He travelled to New York in the 1970s and initiated a major dialogue with all the new ideas in art, experimental film, dance, music, abstract expressionism and post-minimalism. He met Öjvind Fahlström, Gordon Matta Clark, Robert Smithson and others in a vibrant, dynamic art scene.
Håfström returned to Sweden and shared what he had seen and experienced. He presented new ideas and artistry of the time with deep dives into history and his own abstract works and texts.
Together with artist friends, he initiated the three ‘Ibid’ exhibitions, which were held in abandoned industrial premises (Linoljefabriken, Münchenbryggeriet, in Borås), thus moving outside the white cube and the monopoly of institutions as art venues and presenters. The Ibid exhibitions showed that contemporary art could take place outside the traditional framework. Art could be site-specific and enter into a di erent history and time. The experience of the context reinforced the significance and role of art as an actor in the world at large, outside the art scene. Seeing through the eyes of art provided a new perspective and a stronger sensibility.
Jan Håfström has often broken away and tried new things, moving away from conventions and boundaries. He writes art criticism, makes films, designs sets, paints and sculpts.
In 2001, he surprised the Swedish art audience with the exhibition ‘Walker,’ which made a huge impact at Färgfabriken in Stockholm. Out of the abstract, silent, minimalist emerges Mr Walker and his fictional, eventful world. Parts of childhood adventures and images depicting the disguised Mr Walker, alias Fantomen, can be found in the paintings. This time in the form of cut-out, enlarged details. Like backdrops that for once play the leading role, the stories and adventures return in fragments and form a new story about how it was and how it turned out.
But Walker also moves in the same world as A. Böcklin’s ‘The Isle of the Dead’ from the 1880s and Joseph Conrad’s ‘Heart of Darkness’ from 1902. In the darkness of Romanticism, death is fought and the creative power of life wins and triumphs. In the story of Walker, Håfström combines the abstract canvases and the
moods of the objects with the stories that have been decisive and strongly influenced his life. The journey of childhood returns in a stripped-down and renewed form.
Two years later, in 2003, at the Baltic Art Centre in Visby on Gotland, ‘The Eternal Return’ emerged. Here, the actors from the paintings have been freed and left the earth. The walls were filled and the silent rooms were populated, and the game began...
So in 2009, Liljevalchs’ ‘Heart of Darkness’ unfolded in a large painting installation that took over the exhibition halls. The game continued with changed roles in old and new stories. The audience could participate and influence the characters’ roles and movements. The painted figures had taken over the rooms, walls and ceilings. But as soon as the exhibition doors closed, parts of the works were loaded into cars and driven away to the 53rd Venice Biennale in 2009.
This was the fourth time Jan Håfström participated in the Biennale (1980, 1990, 2003 and 2009), a feat achieved by few Swedish artists. Håfström felt at home in Venice where history coexists with the present. It is easy for a visitor to travel between centuries, and the old masters are always present. Museums and exhibitions fill the old palaces, and ’if you get tired, you can sneak in and look at paintings by Titian and Tintoretto’ (J.H.).
The working title of the Biennale installation was ’Paradise Lost’, but eventually it was renamed. The work ’The Eternal Return’ from 2003 is based on the original ’Paradise Lost’ which has lived on and been expanded. Jan Håfström fulfills his contract with life and continues to tell his story. Mr Walker leads and entices him further.”
Jan Håfström “Den eviga återkomsten” installation view from “Mörkrets Hjärta”, Liljevalchs konsthall, 2009. Photo: Andy Liffner.
295. Jan Håfström (Sweden, 1937–) “Den eviga återkomsten”.
Signed Jan Håfström and dated 2003 verso. 86 painted wooden panels in varying size.
Provenance: Bukowski Auktioner, Contemporary & Design 561, 18 May 2011, lot 458. Private Collection, Sweden.
Exhibitions: Baltic Art Centre, Visby, “Jan Håfström - Den eviga återkomsten”, 20 September - 9 November 2003. National Museum of Art, Warszawa, “Den eviga återkomsten”, 2004. Moderna Museet, Stockholm, “Moderna utställningen”, 18 February - 7 June 2006. Passagen Linköpings konsthall, Sweden, 16 August - 4 October 2008. Liljevalchs konsthall, Stockholm, “Mörkrets hjärta”, 18 April - 21 May 2009. La Biennale di Venezia, 55rd International Art Exhibition “Making Words”, Arsenale, 7 June - 22 November 2009. Bohusläns museum, Uddevalla, “Jan Håfström, Den eviga återkomsten”, 28 January - 4 March 2012.
Literature: Baltic Art Centre, Visby. “Jan Håfström - Den eviga återkomsten”, 2003, exhibition catalogue, illustrated. Johanna Ekström and Niclas Östlind, “Jan Håfström - Den eviga återkomsten (The Eternal Return)”, 2008, illustrated. Liljevalchs konsthall, Stockholm, “Mörkrets Hjärta - Jan Håfström, 2009, illustrated. La Biennale di Venezia, 55rd International Art Exhibition “Making Worlds”, Arsenale, 2009, exhibition catalogue, illustrated.
297. Peter Johansson (Sweden, 1964–) “Smålänningar är snåla”. Signed Peter Johansson and Barbro Westling and dated 2007, numbered e.a. 1/3. Object with glass box, banknote, stamp. Height 45 cm. Width 22.5 cm. Depth 22.5 cm.
Literature: Peter Johansson och Barbro Westling, “Peter Johansson/Barbro Westling; Texter och dokumentation från ett urval konstprojekt 2004–2008”, 2008, compare p. 56–61.
303. Ylva Snöfrid (Ogland) (Sweden, 1974–) “Venus at Her Mirror”. Signed Ylva Ogland and dated 2008 verso. Canvas 99 x 66 cm.
Provenance: Brändström, Stockholm.
Exhibitions: Brändström Stockholm, “Snöfrid vid sina speglar med the Oracle & Fruit and Flower Deli – This is the Beginning of an Odyssey in Vodka”, 2009.
304. Carl Boutard (Sweden, 1975–) “Monument over forgotten souls”. Signed Carl Boutard. Bronze. Height 105 cm. Base of wood. Height 18, width 50 cm.
Exhibitions: Bonniers Konsthall, Stockholm, “In Search of a Lost Self” 14 May - 17 June 2007. Angelika Knäpper Gallery, Stockholm. Galleri KHM, Malmö, “Territory”, 2007. Swedish Institute, Paris “Nordic Delight”, 2010.
Matthias van Arkel’s style is unique and unmistakable. For more than 20 years, he has combined painting and sculpture in his own distinctive way. Ahead of Market Art Fair 2013, which took place at the Royal Academy of Fine Arts in Stockholm, Cecilia Hillström had the opportunity to let one of the gallery’s artists take on the beautiful stairwell. The choice fell on Matthias van Arkel. He thought about the assignment and came to the conclusion that the Royal Academy of Fine Arts already had enough decorations on the walls, so instead he wanted to exhibit a three-dimensional painting in the middle of the room. In the work “Sarkofag” (Sarcophagus), his characteristic working material, platinum-cured vulcanized silicone rubber, has been wrapped around a specially built box of birch plywood— as if the brushstrokes of the painting had come to life, pushed out of the canvas, and embraced the wooden structure. The work was placed balancing on the top steps, as if it had just stopped for a moment on its way up to the next floor, leaning nonchalantly against the railing.
Matthias van Arkel challenges our perception of what defines a painting and invites us to see it from a new perspective. He strives to question and leave traditional painting behind, giving it a new space with its tactile,
inviting surface. With his unique technique, he can paint in the form of cubes, organic shapes, or freely hanging objects. The artist trained at Konstfack and the Royal Academy of Fine Arts in Stockholm and currently works in Stockholm and New York. His works can be found in the collections of Moderna Museet, Stockholm, the Swedish National Public Art Council, and the SOKO Art Collection in Finland, among others. Van Arkel has completed a number of public commissions in the US and Sweden, including The Williams residential building in New York, the monumental work Micro/Macro World at Jakobsberg bus terminal, Kumla swimming pool, and Stockholms Hamnar in Värtahamnen.
305. Matthias van Arkel (Sweden, 1967–) “Sarkofag”.
Signed MvA. Executed in 2013. Unique. Platinum silicone rubber mounted on birch plywood. Length 160 cm, width 75 cm, height 75 cm.
Provenance: Cecilia Hillström Gallery, Stockholm. UNIX Gallery, New York. Private Collection, Sweden.
Exhibitions: Market Art Fair, Konstakademien, Stockholm, 2013. Cecilia Hillström Gallery, Stockholm, “Matthias van Arkel – Loop”, 22 August - 29 September 2013.
Signed Ulf Rollof and dated 2021 verso. Acrylic and float glass shot with a 9 mm revolver bullet 47 x 57 cm. Metal shelf and original crate accompanies the work.
Provenance: Acquired directly from the artist by the present owner.
308. Gunnel Wåhlstrand (Sweden, 1974–) Untitled. Signed G. Wåhlstrand. Ink and watercolour on paper mounted to canvas 155 x 111 cm. Including frame 58 x 113 cm.
Provenance: Directly from the artist via “Vårsalongen”, 2002. Private Collection, Stockholm.
Exhibitions: Liljevalchs konsthall, Stockholm, “Vårsalongen”, 25 January - 17 March, 2002.
309. Johan Bergström Hyldahl (Sweden, 1984–) “Dear Jesus, Do Something”.
Signed Johan Bergström Hyldahl and numbered 4/5. Executed in 2014. Certificate included. BlueRay, Apple ProRes 422. Total edition of 5 + 2AP. Box 26 x 33 x 7 cm.
Provenance: Cecilia Hillström Gallery, Stockholm. Private Collection, Sweden.
310. Johan Bergström Hyldahl (Sweden, 1984–) “Moon”.
Signed Johan Bergström Hyldahl and numbered 1/5. Total edition of 5 + 2 AP. Executed in 2014. Certificate included. 10 min loop. BlueRay, Apple ProRes 422, video projection on spherical surface, diameter 80 cm.
Provenance: Cecilia Hillström Gallery, Stockholm. Private Collection, Sweden.
Executed in 2012. UV-printed photograph on vinyl, acrylic globes, LED lights, cable. Height 50, width 45, length 170 cm. Pedestal in wood. Height 111.5, width 60, length 145 cm.
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.
Cecilia Edefalk, born in 1954 in Norrköping, is one of Sweden’s most prominent contemporary artists, with a long and influential career both nationally and internationally. She studied at Konstfack University of Arts, Crafts and Design in Stockholm, Birkagården Folkhögskola and the Royal Institute of Art in Stockholm.
Edefalk had her major breakthrough in 1990 with the exhibition “En annan rörelse” at Galleri Sten Eriksson in Stockholm, where she presented seven paintings with the same motif in different variations - an approach that has come to define her entire artistic practice. Her method is characterized by slow, contemplative processes where she works in series and continually explores the conditions of the image through repetition, variation, and transformation.
A key work in her production is the painting “Over the border” (1990–1992). In this piece, she consciously explores the relationship between painting and photography for the first time by incorporating a painting as part of a photograph. The process involves painting a self-portrait, photographing the painting, and then painting the photograph – creating an image in multiple layers: painting, photography, and painting again. This method opens up a deeper investigation of themes such as reflection, repetition, and change, which Edefalk has continued to explore throughout her career. In “Over the border”, she uses grisaille, a painting technique in grayscale, which lends the work a dreamlike, almost shadowy atmosphere and shifts the focus to form and body rather than colour and background. The hands and feet in the painting seem to sense the boundaries of the image, as if the figure is probing its own presence in space.
This work foreshadows the series “Echo” (1992–1994), consisting of twelve paintings in which the same motif is repeated with small variations, each new painting is based on the previous one rather than on a photograph. Through these subtle shifts and di erences, Edefalk shows how an image is never exactly the same when reproduced, and how changes influence the viewer’s way of seeing and interpreting the motif. The delicate brushwork with many thin layers of paint creates a sense of vulnerability and openness, where some parts of the paintings are left open or unfinished, contributing to a ghostlike and almost spiritual atmosphere.
Edefalk has long been fascinated by the expression of icon painting and the spiritual charge found in such works. Even though her paintings lack religious context, they often give the impression of angelic or ghostlike figures moving through space.
Cecilia Edefalk’s artistic practice is characterized by a continuous dialogue between images, where motifs and themes multiply and transform over time. She explores questions of original and copy, model and replica, and the relationship between portrait and reflection. Her work can be seen as a meditation on how we experience reality and how images function as catalysts for awareness and interpretation.
She moves freely between painting, photography, and sculpture, often creating works that are part of spatial installations, expanding the traditional field of painting. While her production is relatively small, each work is meticulously crafted and thoughtfully executed, and she never lets go of a motif until she feels it has been fully explored.
Throughout her career, Edefalk has exhibited at many internationally renowned institutions, including the Venice and São Paulo Biennials, Documenta in Kassel, the Museum of Modern Art in New York, Kunsthalle Bern, and the Moderna Museet in Stockholm. She is represented in several major collections, including Moderna Museet,t Göteborgs Konstmuseum and Nordiska Akvarellmuseet. Her work has also been shown at prestigious galleries such as Gladstone Gallery in New York and carlier | gebauer in Berlin.
Edefalk’s figurative painting played a key role in the return of figurative art during the 1980s and 1990s. Through her conceptual and restrained expression often reducing visual content to clarify what remains - Cecilia Edefalk has created a distinctive artistic voice. Her work is about how we see, perceive, and interpret images, about the time that passes between original and copy, and about the meditative nature of returning to a motif again and again.
She is an artist who, in her investigation of the image as both object and process, constantly challenges and deepens our understanding of art and reality.
318. Cecilia Edefalk (Sweden, 1954–) “Over the Border”. Signed Cecilia Edefalk and dated 1990–91 verso. Canvas 191.5 x 134.5 cm.
Provenance: Gallery Sten Eriksson, Stockholm. Stockholms Auktionsverk, Moderna Kvalitén, 1 -3 November, 2006, lot 1261. Private Collection, Stockholm.
Exhibitions: Irish Museum of Modern Art, Dublin “Cecilia Edefalk / Jan Hafstrom,” 1992.
325. Marie-Louise Ekman (Sweden, 1944–) “Musiklektion som blev till kakafoni”.
Signed M.L De Geer Ekman and dated 2008. Correspondence from the artist accompanies the work. Assemblage in plexi glass box. Height 12.5 cm. Width 25.5 cm. Depth 12.5 cm.
Provenance: Directly from the artist to the present owner.
327. Anders Widoff (Sweden, 1953–) “Bells calling for Aceh (1)”.
Signed Widoff and dated 04/05. Oil and ink on drawing film mounted on acrylic glass 41.6 x 29.4 cm.
Provenance: Galleri Christian Larsen, Stockholm. Stockholms Auktionsverk, “Design - Nutida Konst” 11 May 2015, lot 1038. Private Collection, Stockholm.
Exhibitions: Liljevalchs konsthall, Stockholm, “Anders Widoff: (att) bära sig”, 16 April - 5 Juni 2005.
328. Per Olof Ultvedt (Sweden, 1927–2006) Untitled.
Painted wood and electric motor. Height 38 cm. Width 26 cm. Depth 10.5 cm.
Provenance: Galerie Bleue, Stockholm. Stockholms Auktionsverk, Nutida & Fotografi, 2 2 May 2012, lot 138. Private Collection. Bukowski Auktioner, Modern Art + Design 624, 16 June 2020, lot 411. Private Collection, Stockholm.
Signed Jan Håfström and dated 2005. Mixed media on panel 65.5 x 107 cm.
Provenance: Brändström & Stene, Stockholm. Private Collection Stockholm. Bukowski Auktioner, Contemporary Art & Design 619, 12 November 2019, lot 319. Private Collection, Stockholm.
Exhibitions: Liljevalchs konsthall, Stockholm, “Mörkrets Hjärta / Heart of Darkness”, 18 April - 21 May 2009.
Literature: Bomulds Fabriken, Ingela Lind (ed.), “M/s Siddhart Enterprises”, 2016, illustrated on p. 93. Liljevalchs konsthall, Mårten Castenfors (ed.), “Book of the Dead”, 2009, illustrated on p. 80.
Signed Vanna Bowles and dated 2009 verso. Three-dimensional drawing, graphite and assemblage on paper 70 x 70 x 15 cm including frame.
Provenance: Angelika Knäpper Gallery, Stockholm. Private Collection, Stockholm. Bukowski Auktioner, Contemporary Art & Design 639, 26 April 2022, lot 316. Private Collection, Stockholm.
Exhibitions: Angelika Knäpper Gallery, Stockholm, “Wild Tree”, 8 April - 2 May 2010.
Literature: Vanna Bowles and Linn Cecilia Ulvin e.a, “Wild Tree - Vanna Bowles”, 2010, illustrated full page p. 12.
During the 1980s, Ola Billgren’s artistic focus centred on romanticism and its emotional core. However, the prevailing tendency has been to examine and deconstruct the approach of romanticism rather than its emotional timbre. A recurrent theme was the depiction of the landscape, albeit not in the conventional sense of the term. Billgren’s landscapes were composed of photographic collages that complicated the experiential aspect of the landscape. In the form of large panoramic paintings, the artist’s focus was not primarily on the natural landscape, but rather on the urban landscape, subjecting it to meticulous scrutiny.
Billgren’s 1987 painting Terrain Vague is evidently a signature painting, as it is representative of the artist’s work during the late 1980s. As is the case with numerous paintings from the same period, it provides a perspective from a considerable height. In contrast to ”Utsikt från en katedral I” (1987) and ”Utsikt från en katedral II” (1988), which offer a static vantage point akin to that of a church tower, this work provides a dynamic perspective. In this instance, the vantage point is mobile and easily identifiable as an aircraft. The constant movement of the aeroplane o ers a unique vantage point from which to observe the expanse of the metropolis, its intricate network of intersecting transportation routes and diverse architectural landscapes. The metropolis extends indefinitely, defying facile characterisation. It is hypothesised that this spatial disorientation is the origin of the painting’s title, Terrain Vague, which is derived from the French term for an area that lacks distinct identity. The area under discussion is located at the intersection of urban and rural zones. This liminal state can be conceptualised as a condition that is neither fully one thing nor fully another. In a seminal essay dating from 1995, esteemed architecture theorist Ignasi de Solà-Morales posits the notion that comprehending an urban landscape in its entirety necessitates the utilisation of photographic documentation. However, it is not the city itself that is the subject of observation, but rather its representation. Through this representation, we are able to form an impression of the city’s topography. In a figurative sense, terrain vague can also be perceived as a transitional phenomenon between a physical and a mental landscape, or, in other words, a kind of middle ground between wakefulness and sleep. To elaborate, this phenomenon may be described as the sensation that frequently manifests itself during the ascent or descent of an aircraft between two specified locations. This condition is characterised by a sense of disorientation regarding one’s place in the world, accompanied by a persistent emotional awareness that could be conceptualised as a form of psychological anchoring to one’s environment.
This is an excerpt from a longer text by Bo Nilsson, which was written in 2012 for the work Terrain Vague.
336 A . Ola Billgren (Sweden, 1940–2001) “Terrain Vague”.
Signed Ola Billgren and dated 1987 verso. Canvas 190 x 265 cm.
Provenance: Acquired at Art Cologne, Galleri Engström, Stockholm. Private Collection, Germany. Bukowski Auktioner, Moderna Vårauktionen 2005, lot 543. Private Collection. Bukowski Auktioner, Vårens Contemporary 2012, lot 461. Private Collection.
Exhibitions: Rooseum, Malmö, “Ola Billgren - a retrospective”, 14 May - 4 August 1991. Moderna Museet, Stockholm, “Ola Billgren - a retrospective”, 26 October - 8 December 1991. Kunstforeningen, Köpenhamn, “Mörkrets lys, Nordisk kunst genom 100 år”, 1996.
Literature: Ola Billgren, “Album, Ola Billgren - en retrospektiv, Vol.1”, 1991, illustrated p. 111. Hans Johansson, “Svensk Nutidskonst 3 - Ola Billgren”, 1993, illustrated fullpage pl. 26. “Mörkrets lys, Nordisk kunst genom 100 år” Kunstforeningen, Köpenhamn, 1996, illustrated p. 29. Douglas Feuk and Anne Ring Petersen, “Ola Billgren -Måleri”, 2000, illustrated full-page p. 52-53.
Signed Jockum and dated 1989, with dedication. Mixed media of metal, wood, iron, screws, nails, cork, hinges mounted in a plexi glass box 22.5 x 50 x 12.5 cm.
344. Carsten Höller (Germany, 1961–) “Double Mushroom Vitrine (Once)”. Unique. Cast polyurethane replicas of two mushrooms in various sizes, acrylic paint, glass plates, metal pins, powder coated metal frame 31 x 26 x 26 cm.
Provenance: Acquired directly from the artist by the present owner. Private Collection, Sweden.
347. Martin Kippenberger (Germany, 1953–1997) Untitled. From the series “Hotel Drawings”. Signed M.K and dated 1995. Mixed media on hotel stationery 29 x 21 cm.
Provenance: Galerie Borgmann Capitain, Cologne. Art Front Gallery, Tokyo. Anders Tornberg Gallery, Lund.
Signed C.D and dated 7/28/89. Mixed media on paper 27 x 40.5 cm.
Provenance: Sonnabend Gallery, New York. Acquired from the above in 1991. Spångberg Collection, Uppsala.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
Rémy Zaugg
The painting "SCHAU, ICH BIN BLIND, SCHAU", is a typical example of the late conceptual artist Rémy Zaugg’s art. In English the text means LOOK, I AM BLIND, LOOK. In his paintings the same text is repeated over and over again in different languages and colours.
Zaugg’s art is both conceptual and minimalist. During his career he investigated and explored language and vision, and enjoyed challenging the viewer’s perception. He played an important role as both a critic and observer of contemporary culture, especially with regards to the perception of space and architecture. He believed sight and consciousness to be effectively linked and worked with the meaning of text and words as subjects in his paintings. His works used language in a fragmented way to convey that which is most critical for a human, being seen by the other. Zaugg was interested in the opposite of vision – blindness. Zaugg also took a strong interest in language and its power to deconstruct and reconstruct new contexts.
Zaugg was not only a painter; he was also a philosopher, writer and curator. For many years, he collaborated with the architects Herzog & Meuron.
Together they realised several architectural projects, the best known being the design for London’s Tate Modern.
Rémy Zaugg was born in 1943, in Courgenay, Switzerland. He lived and worked in Pfastatt, France and Basel, Switzerland, until his death in 2005.
Museums that have hosted Zaugg’s solo exhibitions include Centre Georges Pompidou, Kunstmuseum Basel, Stedelijk Van Abbemuseum in Eindhoven, Musée d'art contemporain de Lyon, Musée d'Art Moderne de la Ville de Paris, and Berlin’s Nationalgalerie. He has also exhibited at Magasin III in Stockholm.
349. Rémy Zaugg (Switzerland, 1943–2005) “SCHAU, ICH BIN BLIND, SCHAU”.
Signed R. Zaugg and dated 1997/1998 and marked No.17, rouge/bleu 208/3.5 verso. Auto lacquer silk-screened on aluminum 69.7 x 77.7 cm.
In the painting ”Two Parts” (1991), Marlene Dumas depicts a naked human body, visually divided into two segments. The work bears clear hallmarks of her artistic language: a gestural, almost dissolved expression, where the body emerges through intuitive and expressive painting in ink and gouache. With a restrained yet emotionally charged color palette, Dumas shapes a portrait that is both vulnerable and powerful - a figure reduced to its most fundamental forms. Divided, fragmented, yet intensely present.
The painting is a clear example of the themes that permeate Dumas’ artistry: corporeality, identity, intimacy, and the subtle psychological landscape that exists between seeing and experiencing. The divided body in ”Two Parts” can be read as an image of separation - both physical and emotional - but also as a formal exploration of composition, perception, and the body's presence in space.
The work was created during a period when Dumas, long based in Amsterdam, was gaining increasing international recognition. By then, she had already begun to articulate the artistic language that today makes her one of the most influential painters of our time. She often bases her work on photographic sources –both private images and mass media motifs - which she transforms into paintings where reality is filtered through her body.
Today, Marlene Dumas is represented in several of the world’s most prestigious museum collections, including MoMA in New York, Tate Modern in London, Centre Pompidou in Paris, and the Stedelijk Museum in Amsterdam. She has been the subject of major retrospective exhibitions at institutions such as Tate Modern (2015), Fondation Beyeler (2015), Musée d'Orsay (2021), and Palazzo Grassi in Venice (2022). In 2025, she will participate in the group exhibition "Corps et âmes" at Bourse de Commerce in Paris, as well as present a solo exhibition, "Cycladic Blues", at the Museum of Cycladic Art in Athens.
350. Marlene Dumas (Netherlands, 1953–) “Two Parts”. Signed M. Dumas and dated 1991 on paper in an envelope affixed verso. Ink and gouache on paper 18 x 12 cm.
355. Peter Blake (Great Britain, 1932–) “Cover for TV Guide, USA, 18 November 1995”.
Signed Peter Blake. Collage on cardboard, image 29 x 20 cm.
Provenance: National Gallery, London. Lorenzelli Arte, Milan. Waddington Galleries, London. LEVY, Hamburg. Private Collection, Sweden.
Exhibitions: National Gallery, London, “Now we are 64: Peter Blake at the National Gallery”, 25 September - 5 January 1996. Lorenzelli Arte, Milan, “Peter Blake”, 7 January - 7 March 2009. Frieze Art Fair / Waddington Galleries, London, 4–17 October 2010.
Literature: Levy Gallery, exhibition catalogue, “Peter Blake: Collagen und Arbeiten auf Papier 1956–2008”, 2008, illustrated p. 43. C. Preston (ed.), exhibition catalogue, “Peter Blake: Collage”, 2021, illustrated p. 276, no. 19, fig. 64.
Signed Nonas and dated ‘81. Mixed media on paper 75.5 x 56.5 cm.
Provenance: Anders Tornberg Gallery, Lund.
Exhibitions: Larsen Warner, Stockholm, “Richard Nonas - Language of Place”, 3 September - 15 October 2022.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 530
Peter Halley
Peter Halley’s painting ”Ta Ra Rum Pum” exemplifies the artist’s signature geometric abstraction, where luminous color and textured surfaces become vehicles for social and cultural commentary. Since the 1980s, Halley has employed the lexicon of “cells,” “prisons,” and “conduits” to reflect on the architecture of modern life—both its physical structures and its invisible systems of communication and control.
Here, rectilinear forms in neon green, blazing red, and industrial gray interlock with radiant yellow panels. The sharply delineated geometry, enhanced by the granular surface of Roll-a-Tex, creates a dialogue between flatness and tactility, restraint and exuberance. Halley’s pictorial worlds, often mistaken for purely non-representational, in fact evoke code systems, circuit diagrams, and urban planning grids. Using neon colors, geometric motifs, and industrial materials, he builds relief-like surfaces that mirror the structure of contemporary society.
This work can be directly compared to ”Monster House” (2007), which employs the same barred “prison window” composition but in a brilliant red and pink palette.
Peter Halley explains how his work evolves over time in an interview with Peter Doroshenko, executive director Dallas Contemporary, 2020:
”Believe it or not, my work is a kind of diary. As you know, I employ a very small vocabulary of symbols in my work - diagrammatic cells and prisons that are connected by conduits, all set on a flat colored field. Each painting evolves from those that came before, but as I draw, I never know what will happen next as I compose and rearrange these elements. When I look back at my old paintings, I can clearly remember what was going on at the time they were painted - both in my personal life and in our culture as a whole.”
357. Peter Halley (USA, 1953–) “Ta Ra Rum Pum”.
Signed Peter Halley and dated 2007 verso. Acrylic, fluorescent acrylic, and Roll-A-Tex on canvas 183 x 183 cm.
358. Olamide Ogunade (Nigeria, 1996–) “The Awakening”.
Signed Olamide Ogunade and dated 2020. Charcoal and acrylic on paper, 63.5 x 52 cm. Including frame 88.5 x 74.5 cm.
Provenance: CFHILL, Stockholm. Private Collection, Stockholm.
Exhibitions: CFHILL, Stockholm. “Stop, listen!”, 22 January - 12 February 2021.
Estimate: SEK 35 000 – 40 000 / EUR 3 170 – 3 630
360. Prinston Nnanna (USA, 1990–) “Blue Soul”. Signed Prinston Nnanna and dated 2019 verso. Mixed media on paper toned by hand 76 x 45 cm. Including frame 98 x 67 cm.
Provenance: The Hole, New York. Private Collection, Sweden.
Exhibitions: 1–54 London/The Hole, Somerset House, 3–6 October 2019.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
359. Donald Baechler (USA, 1956–2022) “Bird”. Signed D.Baechler and dated 2021, numbered 4/8. Bronze, height 31 cm.
This painting from 1980 is a clear example of Suchao Sisganes’s personal and symbolically rich interpretation of the Thai countryside, executed with his characteristic impasto technique. Signed with the pseudonym “S. AINN,” the painting depicts rural motifs such as haystacks, animals, and stilt houses, rendered with geometric shapes in a warm color palette of ochre, yellow, and muted pink tones.
Sisganes placed great emphasis on the texture and surface of the paint, using thick layers of oil and short, rhythmic brushstrokes to create a mosaic-like composition. This technique enhances the emotional depth of the painting and gives it a physical presence that deepens the viewer’s experience of the landscape’s simple yet complex character.
The artist drew inspiration from both traditional Thai motifs and Western Expressionism. He studied at Silpakorn University in Bangkok, where he was taught by Silpa Bhirasri, often called the father of Thai modernism. Sisganes’s style evolved into a unique synthesis of local stories and a modern, expressive visual language, where he explored themes like life’s struggles, loneliness, and hope through symbolic and stylized elements.
This painting is part of his well-known “Haystack series” or “Village Theatre” theme, where the landscape serves as a stage filled with symbolism and human emotions, even when people themselves are often absent. It reflects both a cultural and existential contemplation of everyday life in
the Thai rural community, as well as Sisganes’s own life story marked by struggle and perseverance.
Throughout his life, Suchao Sisganes faced economic hardship and was partly marginalized by the art market due to his unusual style and often somber themes. His paintings only received the recognition and value they deserved after his death, and he is now regarded as a pioneer of Thai Expressionism.
This painting exemplifies his ability to unite the personal and the universal in a powerful artistic expression, where technique, color, and form work together to create a rich and symbolic landscape. Sisganes’s unique artistry is today represented in prominent collections such as the Bangkok Art and Culture Centre, the National Museum Bangkok, and private collections worldwide. His paintings have also been shown at major exhibitions, including the Museum of Contemporary Art in Bangkok and the Asian Art Museum in San Francisco. From being marginalized, Sisganes has now secured a well-established place in art history, acting as a vital link between traditional narratives and contemporary artistic expressions.
Throughout Alex Katz’s seven-decade career, fashion has been a central preoccupation. “It’s like you say, ‘yes, yes, no’ to everything that comes in front of you”, the 98-year-old artist tells Vogue. “I’m painting the now, and fashion is now.”
Katz has collaborated with leading figures from the worlds of fashion and cinema to produce several series of fashion images. His works are instantly recognizable for their brightly colored, flattened style, developed in reaction to Abstract Expressionism of the 1950s. His discerning eye comes through vividly in his paintings, sculptures, and prints, which seem to capture not only the sitter’s style but also the essence of their personality.
The portrait offered in this auction depicts Christy Turlington, the celebrated supermodel who has long been a muse for the artist. Katz began working on Turlington’s portrait in 2004, completing four large-scale versions in total, and the two quickly became close friends. She has since appeared in his work on numerous occasions and continues to inspire him.
Christy in ”Study for Black Hat 11” belongs to the well-known Black Hat series, created in 2010. The series includes portraits on canvas, as well as screen prints and woodcuts. Each composition shares key elements: a larger-than-life head, shrouded in mystery, the face obscured by a wide black hat and sunglasses. Against a vibrant canary-yellow background, the cropped figure dominates the canvas, commanding attention. Sitters for the series include Christy, Vivien, Ulla, Tim, and Nicole, joined by Ada - Katz’s wife and lifelong muse and synonymous with Katz’s iconic portraiture. With its brilliant palette and archetypal flatness, the Black Hat series stands as a superlative example of Katz’s oeuvre and a tribute to his New York muses.
Katz’s work has been exhibited internationally since 1951, with major retrospectives at institutions such as the Whitney Museum of American Art in New York, Tate Modern in London and the Solomon R. Guggenheim Museum, New York. Over his career, he has received numerous honors, including induction into the American Academy of Arts and Letters and a John Simon Guggenheim Memorial Fellowship for Painting. His influence extends beyond the art world, through collaborations in literature, fashion, and public art projects.
Today, Alex Katz is an ever-present artist whose work has evolved over a lifetime from small intimate paintings to aluminium cut-outs, to eye-catching portraits, landscapes and floral paintings on a monumental scale. At 98 years of age, he can look back on more than 200 solo exhibitions and nearly 500 group shows, with his works represented in over 100 collections worldwide.
362. Alex Katz (USA, 1927–) “Study for Black Hat 11”. Signed Alex Katz and dated 10. Oil on board 30.5 x 40.4 cm.
364. George Segal (USA, 1924–2000). ”5 Paint Cans on Shelves 1”. Signed G Segal and dated -83. Pastel on paper 64.5 x 50 cm.
Provenance: Sidney Janis Gallery, New York
Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630
365. Daniel Spoerri (Switzerland, 1930–2024) “BR3 Flüssig feucht (Liquid moisture)”.
From the “Trompe l’oeil series”. Signed Daniel Spoerri and dated Dec 61 verso. Collage of metal, package, condom, rubber band, oil on canvas 24.2 x 16.5 cm.
Provenance: Christie’s, London, “Post-War & Contemporary Art”, 14 September 2011, lot 161.
Estimate: SEK 60 000 – 80 000 / EUR 5 440 – 7 250
366. Wes Lang (USA, 1986–) “I Know I Will Meet Death That Way…”.
Signed Wes Lang and dated April 12 2006 verso. Pencil on book cover 34 x 27.5 cm. Including the artist’s frame 53 x 47 cm.
Estimate: SEK 60 000 – 80 000 / EUR 5 440 – 7 250
367. John Kørner (Denmark, 1967–) “A Open Air Museum”.
Signed Kørner and dated 2009 verso. Canvas 180.5 x 241 cm.
Provenance: Christian Larsen, Stockholm. Private Collection, Stockholm.
Exhibitions: Christian Larsen, Stockholm, “The New Museums”, 8 October - 15 November 2009.
Louise Nevelson’s sculptural wood assemblages transcend space, transforming the viewer’s perception of art. Celebrated for her brilliant compositions across a wide range of mediums, she was hailed by critics as one of the foremost sculptors of the twentieth century. A pioneering figure in the art world, Nevelson cultivated an iconic persona—marked by her eclectic mix of ethnic garments, dramatic mink eyelashes, and her magnetic presence. Today her work is represented in over 200 museums, public spaces, and esteemed private collections worldwide. Bukowskis is proud to present two important works by Nevelson in this auction.
Born in Kiev, Ukraine, in 1899, Nevelson emigrated with her family from czarist Russia to the United States in 1905, settling in Rockland, Maine. By 1920 she had moved to New York City, where she studied drama before enrolling at the Art Students League. In the early 1930s she traveled across Europe, attending Hans Hofmann’s school in Munich, before returning to New York in 1932 to continue her studies with Hofmann.
Her interest in shadow and space emerged in her first all-black sculptures, inaugurating the visual language that would define much of her work from the mid-1950s onward. Influenced by Cubism and by the Franco-German artist Jean Arp, Nevelson began creating assemblages from discarded wooden objects found on the street, unifying them with a coat of matte black paint. For Nevelson, black embodied all colors in one and represented the harmony she sought in her art. This development was soon recognized through major acquisitions: the Whitney Museum of American Art acquired “ Black Majesty” (1955) in 1956, followed by the Brooklyn Museum’s purchase of “First Personage” (1956) the next year. Shortly thereafter, the Museum of Modern Art acquired “Sky Cathedral” (1958), further cementing her reputation with the inclusion of “Dawn’s Wedding Feast” (1959) in the landmark exhibition Sixteen Americans (1959–60).
In the 1950s, Nevelson’s sculptures left their pedestals to expand across entire walls like monumental altarpieces. Executed in monochrome—first in black, later in white and gold—these vast compositions of turned chair legs, moldings, and wooden planks approached the scale of Abstract Expressionist painting. Their monumental presence evokes something spiritual and timeless, articulating a deeply personal mythology.
Nevelson’s compositions probe the relationship between sculpture and space, distilling the external world into deeply personal landscapes. While her practice stands in dialogue with Picasso’s Cubism and Vladimir Tatlin’s Constructivism, the pictorial sensibility of her work—and her search for the transcendence of object and space— places her firmly within the realm of Abstract Expressionism.
By the 1960s, Nevelson had achieved international acclaim, becoming one of the most celebrated sculptors of the postwar period. In downtown New York, where she lived from the 1920s until her death, she became known as sculpture’s eccentric grande dame—her dramatic black eyelashes and commanding presence as iconic as her art.
369. Louise Nevelson (USA, 1899–1988) “Day/Night XI”.
Executed in 1973. Wood painted black 93 x 93 x 15 cm.
Provenance: Pace Wildenstein, New York. Pace, New York. Mennour, Paris. Private Collection, Sweden.
Exhibitions: Mennour, Paris, “Alicja Kwade & Louise Nevelson, Face-à-face”, 3 June - 24 July 2021.
Photo: Louise Nevelson portrait by Lynn Gilbert, 1976, as commissioned by the Pace Gallery, New York.
370. Alicja Kwade (Germany, 1979–) “CC In-Between”. Signed A. Kwade and dated ‘20, C.C, Tue, 21/04/20. Mixed media and pocket watch hands on paper, framed 31.5 x 47 x 3 cm.
372. Alicja Kwade (Germany, 1979–) “CC In-Between”. Signed A. Kwade and dated ‘20, C.C, Fri, 08/05/20. Mixed media and pocket watch hands on paper, framed 31.5 x 47 x 3 cm.
Louise Nevelson (1899–1988) holds a central place in postwar sculpture, particularly through her development of monumental wall assemblages. She was the first sculptor of the mid-twentieth century to work on a scale comparable to Abstract Expressionist painting, fundamentally altering contemporary notions of sculptural scale. What she introduced was a mural dimension, perhaps influenced by her early experience assisting Diego Rivera in the 1930s. Like the Abstract Expressionists, Nevelson sought to move beyond the figure and to break with the waning tradition of overt social commentary in art.
By transforming discarded fragments into unified wholes, Nevelson evoked themes of renewal and resilience. The scale of her works recalls altarpieces or stage sets, suggesting both spiritual transcendence and performative display. Her wall assemblages therefore resonate not only with the cultural narratives of reconstruction in the aftermath of World War II but also anticipate later developments in installation art.
376. Louise Nevelson (USA, 1899–1988) “Untitled”. Executed in 1976-78. Wood painted black, including frame 101.6 x 227.3 x 22.9 cm.
Provenance: The Pace Gallery, New York. Mennour, Paris. Private Collection, Sweden.
Exhibitions: Mennour, Paris, “Louise Nevelson - Solo exhibition”, 3 June - 24 July 2021.
Carole Feuerman is renowned for her hyperrealistic sculptures, which she commenced creating in the 1970s. Feuerman’s prolific career has spanned a period of four decades, with works produced across a variety of media, including bronze, resin and marble. The first of a series of monumental painted resin and bronze sculptures of swimmers and bathers was entitled ”Survival of Serena”. The work was first exhibited at the 2007 Venice Biennale. The sculpture was awarded first prize at the Beijing Biennale in the subsequent year.
The sculpture, which derives its name from Venice’s former appellation, La Serenissima, portrays a female swimmer, positioned upon an inner tube, with water droplets manifesting on its surface. Since then, the work has achieved global exposure and addresses themes of survival, migration, resilience, and the human bond with water.
In the late 1970s and early 1980s, Carole Feuerman and her family resided in a house in Key West, Florida. She would observe Cuban asylum seekers arriving on the shore in a state of flux, having traversed the sea on improvised floating vessels fashioned from inner tubes and driftwood. The artist was profoundly impacted, motivating her to create the inaugural piece, entitled ”Innertube Variant II.” This work also depicted the torso and arms of a woman, with her head resting upon an inner tube. Since the 1980s, the piece has undergone numerous iterations, eventually leading to its current appellation, Survival of Serena. Feuerman has observed that this is a universal sculpture. She draws attention to the fact that migration has been a part of the experience of most families.
Her works are represented in the collections of approximately thirty museums worldwide. In addition to her oeuvre of public artworks, the artist has exhibited her work in Germany, Korea, Singapore, USA and several Italian cities. Most recently, a series of five monumental sculptures of swimmers, including Serena, was displayed in the harbours of New York City.
377. Carole A. Feuerman (USA, 1945–) “Survival of Serena”. Signed Carole A. Feuerman and dated 2012, numbered 2/3. Each example in the edition is unique, total edition of 3 + 2 AP. Painted bronze, applied eyelashes and hair. Height 100 cm. Width 192 cm. Base in stainless steel 122 x 203 cm. Total height 222 x 203 cm.
381. Raúl de Nieves (Mexico, 1983–) “MIRROR/MIC/KNIFE”.
Executed in 2018. Cotton, wool, yarn, plastic beads, vintage fabrics, bells, tassels, and rope applied to work clothes, gloves, and parts of a mannequin. Height 170 cm.
Width 60 cm. Depth 40 cm.
Provenance: CFHILL, Stockholm.
Exhibitions: CFHILL, Stockholm, “Thank You, Thank You, Thank You, Come Again”, March 15 – April 19 2019.
Arthur Boyd (1920 - 1999) was an Australian painter, potter, and printmaker from a family of artists. He sought to express an inner emotional vision rather than depict the external world. His lyrical, emotive allegories explored universal themes of love, loss, and shame, often set in the Australian bush. Rich in literary, mythological, and personal symbolism, his works also reflected a strong social conscience and engagement with humanitarian issues.
While considered an expressionist or allegorical painter, rather than a Surrealist, his work does share some of the same visual language. In 1959, Boyd joined the Antipodeans, a group of painters promoting figurative art against the dominance of abstraction. That same year he moved with his family to London, remaining there until 1971.
Soon after returning to Australia, Boyd and his wife Yvonne visited art dealer Frank McDonald’s property on the Shoalhaven River. Captivated by the wild landscape, Boyd made it one of his most enduring subjects. The majesty of the soaring cliffs which border the tranquil Shoalhaven remained a perennial image of the series of paintings. In the 1970s, the couple purchased Bundanon, an 1100-acre property on the Shoalhaven, fearing future development would destroy its natural beauty.
In 1993, the Boyds gifted Bundanon to the Australian Government so that unique nature of the area could be preserved and inspire generations to come.
Another version of this Shoalhaven motif is in the National Gallery of Australia: Interior with open door, Shoalhaven (1976–77), purchased in 1977 (Ref. NGA 1977.641).ed 1977.
384. Arthur Boyd (Australia, 1920–1999) “Interior with open door (Shoalhaven)”. Signed Arthur Boyd. Executed 1976. Oil on canvas 152 x 122 cm.
Christo
“Although Christo always thinks big, he knows that the impression of human perception can only last for a limited time in memory, and that there is always room for beauty elsewhere.”
—Pierre Restany, Le murmures des voiles, 1989
For more than 50 years Christo Vladimirov Javache and his wife, Jeanne-Claude Denat de Guillebon, worked successfully together in what came to be known as “Team Christo”. Their gigantic and astonishing art projects, which incorporated both architectural and landscape elements, have brought them worldwide fame.
Each project is based on its own financial structure. The projects were financed by Christo and Jeanne-Claude through the sale of Christo’s preparatory studies, drawings, and collages. These works not only served as part of the financing, but also as integral components of the project itself. They are considered individual works and live on after the monumental installations have been dismantled.
From 1958 onwards, Christo worked on a series called “Wrapped Objects and Packages,” works that were intended to be exhibited indoors. The lot “Package on Hand Truck” belongs to this series. The viewer can only guess what is wrapped in the simple fabric, where everyday beauty is emphasized without having to be elevated on a pedestal. In this way, Christo gives the hand truck a personal and stripped-down expression.
The Whitney Museum of Modern Art in New York has a version of “Package on Hand Truck,” created in 1973, in its collection.
In the early months of 1974, Christo and Jeanne-Claude carried out a bold transformation of Rome’s cityscape. A 250-meter stretch of the ancient Aurelian Walls, built under Emperor Aurelian in the 3rd century AD, was wrapped in polypropylene fabric and rope. Both sides of the wall were covered, as were the top and the iconic arches, three of which were open to heavy traffic and one to pedestrians. The location was well chosen, at the end of Via Veneto, one of Rome’s busiest avenues, next to the gardens of Villa Borghese.
The installation was part of the Contemporanea exhibition, held in the underground garage of Villa Borghese and curated by Achille Bonito Oliva. With remarkable logistical precision, completed in just four days by some forty workers, the work remained in place for only 40 days before being dismantled and the materials recycled.
Christos’ art avoids solemn or didactic interpretations. Instead, it invites the viewer to rediscover familiar forms through changed contexts. As he himself once put it: “I am an artist, and I must have courage... I believe it takes much more courage to create things that will disappear than to create things that will last.” His works, transient and self-effacing, exist ultimately in memory, preserved through preparatory sketches, models, and photographs. “The Wall / Project for a Wrapped Roman Wall” was more than an aesthetic spectacle; it was an urban spectacle that transformed one of Rome’s ancient monuments. The artwork united the contemporary and the historical; by concealing the familiar, the transformed work transformed the everyday cityscape into a temporary place of wonder.
“The Wall / Project for a Wrapped Roman Wall”. Signed Christo and dated 1974. Charcoal, graphite, pastel, fabric and twine on paper mounted on panel 54 x 71.5 cm. Mounted in plexi glass frame 56.5 x 71.5 cm.
A photograph 54 x 70 cm, mounted in plexi glass frame, signed Christo and dated 1974, accompanies the work.
Provenance: Acquired from the artist.
Literature: Direction des Musées de Nice, 1989,”Christo, from the Lilja collection”. The project mentioned p. 96ff, compare illustration The Wall, illustrated p. 99.
The Mastaba is an art project by Christo and Jeanne-Claude that was initiated in 1977. The inspiration for the geometric shape is derived from ancient benches that originated in the first urban civilisations of Mesopotamia. The sculpture they sought to realise in the United Arab Emirates was planned to be erected in the Liwa Desert, approximately 160 kilometres south of Abu Dhabi. Christo and Jeanne-Claude had a long-standing relationship with Abu Dhabi, which commenced with their inaugural visit in 1979. The Mastaba was to be their only permanent large-scale work and their final joint project, but it was never realised. In accordance with the expressed wishes of Christo, the project is to be completed by his nephew, Vladimir Yavachev, who has worked closely with the artists for many years.
As depicted in Christo’s designs, the sculpture is to be constructed with dimensions of 150 metres in height, 300 metres in length, and 225 metres in width. This renders it the largest contemporary sculpture in the world. The work consists of 410,000 coloured oil barrels that collectively form a mosaic-like pattern inspired by Islamic architecture. The construction of the structure will take a minimum of three years to complete, with the
initial phase of assembly taking place on the ground before the structure is subsequently lifted into place. In order to ensure the feasibility of the project, Team Christo enlisted the services of multiple international engineering teams. The most technically sustainable solution was proposed by Hosei University in Tokyo, Japan, and this proposal was subsequently verified by a German engineering firm. A thorough investigation was conducted into the social and economic ramifications of the project on the site. As with all of Christo’s works, ”The Mastaba” would be financed entirely without public funds. The project’s revenue will be generated from the sale of sketches and drawings, unique works such as the one presented here, and prints.
“The Mastaba of Abu Dhabi (Project for United Arab Emirates)”. Signed Christo and dated 1980. Oil crayons, colour pencils, pencil, charcoal, map, and technical data on paper mounted on panel. Mounted in a plexi glass frame 80.5 x 61 cm.
Provenance: Art & Form, Stockholm. Acquired in 1985. Then by descent to the present owner.
Richard Prince is considered one of the most groundbreaking and respected artists of his generation. Born in 1949, he made his breakthrough in the early 1980s alongside artists such as Cindy Sherman and Barbara Kruger. Together, they developed the American (and international) art scene by working with appropriation art.
The late 1960s saw the explosion of what we now call the image society – in which we still very much live today. The 1960s were the first golden age of mass media, and while some artists turned their backs on the image and devoted themselves to metaphysical abstraction (Jackson Pollock, Helen Frankenthaler, Mark Rothko), others sought a more powerful tool. One who took an early interest in mass media images was, of course, Andy Warhol. But while he focused on their aesthetics and iconization, Richard Prince was more interested in the human mechanisms behind mass media and commercial images and their interpretations.
Richard Prince is world-renowned for both his photographs and paintings. The Joke Series, which he began in 1986, is representative of Prince’s artistry, in which he often combines artistic techniques with burlesque humor. ”Untitled (joke)” is one of the first in this series of paintings that Prince created using silkscreen on canvas, with a monochrome background and a joke written in a different color. The jokes usually deal with social taboos and frustrations among the white American middle class.
As with all intelligent and conceptual art, Richard Prince’s work deciphers the state of affairs. Prince’s strength lies in his constant willingness to challenge conventions, think outside the box, and provoke. He has sparked debate on copyright, social media, and ownership. His famous photo series “Cowboys” (1980–1992, ongoing) drew inspiration from Marlboro cigarette advertisements, while his popular series “Nurse Paintings” (2003) was inspired by the dramatic covers of cheap pulp fiction from the early decades of the 20th century.
400. Richard Prince (USA, 1949–) “Untitled (joke)”.
Signed R. Prince and dated 87 verso. EEdition 3/5.
In the 1970s Robert Rauschenberg continued his long engagement with mass media imagery, but the decade brought a shift in both scale and source. While his earlier Combines fused paint and objects, and his 1960s screenprints layered celebrity and political photographs, the 1970s saw him turn more deliberately to the flood of contemporary news images. In his work he layered fragments to reflect the disjointed way events were experienced through television and print. The effect was both documentary and chaotic: a snapshot of information overload at the dawn of the mass-television age.
This strategy continued in projects such as the transfer drawings, where he used solvent transfer to embed magazine and newspaper images directly onto paper. Rauschenberg was fascinated by how photographs circulated, lost context, and became part of collective memory. In the work presented in this auction, Rauschenberg compresses the turbulence of the era into a single composition by appropriating images from Time magazine in 1970 and 1971. He combines, reverses, and distorts clippings of advertisements for cars, Firestone tires, and anti-rust spray, alongside a photograph from a WWII memorabilia auction in Munich in 1971, an image of three gasoline pumps, and a print comparing the USSR and US arsenals of intercontinental ballistic missiles and bomber jets.
This approach mirrored the simultaneity of experience in a media-driven society, suggesting that painting could function less as a window onto a singular image and more as a surface that elegantly absorbed and reflected the chaotic flow of information.
401. Robert Rauschenberg (USA, 1925–2008) “Untitled”.
Signed Rauschenberg. Executed circa 1971. Mixed media on paper 57 x 72.4 cm.
Provenance: The New Gallery, Ohio. Spångberg Collection, Uppsala. Acquired in 1973 from the above.
Signed Claes Oldenburg and dated 71 verso. Mixed media on paper, mounted in plexiglass frame 74 x 124.5 cm.
Provenance: Spångberg Collection, Uppsala.
Estimate: SEK 20 000 – 30 000 / EUR 1 820 – 2 720
404. Boyle Family (Great Britain, 1957–) “Small Landslip Study (1)”.
Signed Boyle Family and dated 2001–02 verso. Mixed media, resin and fiberglass 76 cm x 66 cm x 19 cm.
Provenance: Sothebys London, Modern & Post-War British Art, 27 May 2019, lot 178. Private Collection, Stockholm.
Estimate: SEK 60 000 – 80 000 / EUR 5 440 – 7 250
407. Tetsumi Kudo (Japan, 1935–1990) “Fossil in Hiroshima”. Signed Tetsumi Kudo and dated 1976. Mixed media on paper 65 x 49 cm.
Estimate: SEK 40 000 – 60 000 / EUR 3 630 – 5 440
408. Josef Albers (USA, 1888–1976) “Hommage au Carre”.
Signed in pencil and numbered 85/125. Screenprint in colours, 1964. Printed by Atelier Arcay, Paris. Published by Edition Denise René, Paris. I. 27 x 27 cm. S. 48.5 x 38.5 cm.
Literature: Danilowitz 160.11.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
409. Banksy (Great Britain) “Bomb Middle England”. Signed in the print. Numbered 250/500 in pencil. Screenprint in colours, 2003. Published by Pictures On Walls. S. 35 x 98.6 cm. Certificate from Pest Control accompanies this lot.
410. Banksy (Great Britain) “Bomb Hugger” (Bomb Love). Signed in the print. Numbered 165/600 in pencil. Screenprint in colours 2003–2004. Published by Pictures on Walls, London. S. 69.5 x 49.5 cm. Certificate from Pest Control accompanies this lot.
Provenance: Purchased in 2003 at Santas Ghetto, London.
Signed in pencil and numbered 65, with an incorrect edition number 99 (should be 100). Colour lithograph and collage (textile and thread), 1988. Published by Poligrafa, Barcelona. S. 70.5 x 55.4 cm.
Signed in pencil and numbered 82/100. Silkscreen, collotype and photo with collage of fabric and tape, 1985. Printed by Domberger KG, Stuttgart. Published by Edition Schellmann, Munich/New York. S. 35.5 x 28 cm.
Literature: Schellmann 126.
Estimate: SEK 20 000 – 25 000 / EUR 1 820 – 2 270
413. Jim Dine (USA, 1935–) “Wall chart II” .
Signed in pencil and numbered 30/75. Lithograph in colours, 1974. Published by Petersburg Press, London. I. 106 x 76 cm. S. 122 x 88 cm.
Provenance: Bukowski Auktioner, Spring Contemporary 2014, Stockholm 579, cat. no. 150. Private Collection.
Literature: Krens/Williams College 167.
Estimate: SEK 40 000 – 50 000 / EUR 3 630 – 4 530
414. Jim Dine (USA, 1935–) “Drag - Johnson and Mao”. Signed in pencil and numbered 6/53. Lithograph in colours, 1967. Published by the artist and Editions Alecto, London. 80 x 120 cm.
Provenance: CFHILL, Stockholm. Private Collection.
Literature: Galerie Mikro 44.
Estimate: SEK 60 000 – 80 000 / EUR 5 440 – 7 250
415. Lucio Fontana (Italy, 1899–1968) “Concetto Spaziale”. Signed. Screenprint in colours with punched holes. Printed by Sergio Tosi, Milan. 69 x 31.5 cm.
Literature: Cf. Harry Ruhé & Camillo Rigo, “Lucio Fontana. Graphics, Multiples and more, Amsterdam 2006, p. 185.
416. Sam Francis (USA, 1923–1994) “Concert Hall, Set III”.
Signed in pencil and numbered 10/75. Lithograph in colours. 1977. 66 x 88.8 cm. S. 75.2 x 103.5 cm (Rives BFK).
Literature: Lembark 225.
Estimate: SEK 15 000 – 20 000 / EUR 1 360 – 1 820
417. Sam Francis (USA, 1923–1994) Untitled.
Signed in pencil and numbered 7/17. Etching with aquatint, 1984. Printed by Jacob Samuel at The Litho Shop, Santa Monica. Published by The Litho Shop, Santa Monica. P. 59.5 x 20 cm.
Literature: Lembark I-46.
Estimate: SEK 30 000 – 40 000 / EUR 2 720 – 3 630
418. Philip Guston (Canada, 1913–1980) “August 1965” from “Four on Plexiglas”.
Colour screenprint on plexiglass, 1966. Total edition of 125. Printed by Knickerbocker Machine & Foundry Inc., New York. Published by Multiples, Inc., New York. 100 x 75 cm.
Provenance: The New Gallery, Cleveland, Ohio. Purchased in 1968. Spångberg Collection, Uppsala.
Literature: Semff 16.
Estimate: SEK 12 000 – 15 000 / EUR 1 090 – 1 360
419. Keith Haring (USA, 1958–1990) Untitled.
Signed in pencil and numbered 22/45. Etching with aquatint, 1985. Published by Louisiana Museum of Modern Art. P. 49,7 x 69,4 cm. S. 63,5 x 81,6 cm. (BFK Rives).
420. David Hockney (Great Britain, 1937–) “Pembroke Studio with Blue Chairs and Lamp” (from “Moving Focus”).
Signed, dated and numbered 32/98 in pencil. Colour lithograph, 1984. Printed and published by Tyler Graphics, Ltd., Mount Kisco, with their blind stamp. S. 48 x 55 cm.
Provenance: Purchased in 1985 from Thordén Wetterling Gallery, Gothenburg. Thereafter inherited by the current owner.
Signed, dated and numbered 21/82 in pencil. Colour lithograph, 1984. Printed and published by Tyler Graphics, Ltd., Mount Kisco with their blindstamp. S. 76 x 54 cm.
Provenance: Purchased in 1985 from Thordén Wetterling Gallery, Gothenburg. Thereafter inherited by the current owner.
Signed in pencil and numbered 21/70. Lithograph, 1968. Published by Gemini G.E.L with their blind stamp. I. 69.2 x 53.3 cm. S. 94.3 x 75.6 cm.
Literature: ULAE 47.
Estimate: SEK 70 000 – 80 000 / EUR 6 340 – 7 250
424. KAWS (USA, 1974–) Chum (Black).
Painted cast vinyl, 2002. Signed KAWS 03 on the underside. Published by 360 Toy Group, New York (marked on the underside). Height 33 cm. Original box included.
Provenance: Bukowski Auctions, Contemporary Art & Design 646, 26 April 2023, cat. no. 489. Private Collection.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 720
425. Roy Lichtenstein (USA, 1923–1997) “Before the Mirror”. Signed in pencil and numbered 66/100. Lithograph and silkscreen with embossing, 1975. Published by Multiples Inc., and Castelli Graphics, New York. Printed by Styria Studio, New York with their blind stamp. I. 89.5 x 63.5 cm. S. 108,6 x 81,2 cm.
426. Roy Lichtenstein (USA, 1923–1997) “Bicentennial Print” from “America: The Third Century”.
Signed in pencil and numbered 133/200 and dated -75. Colour lithograph and screenprint, 1975–76. Printed by Styria Studio, New York, with their blind stamp, published by APC Editions. S. 76 x 55.5 cm.
427. Roy Lichtenstein (USA, 1923–1997) “Painting in Gold Frame”. Signed in pencil and numbered 2/60. Woodcut, lithograph, screenprint and collage, 1984. Printed and published by Gemini G.E.L., Los Angeles. I. 109.7 x 83.7 cm. S. 117.4 x 91.3 cm.
Signed in pencil and numbered 34/68, dated -73. Lithograph. Published by Gemini G.E.L., Los Angeles with their blind stamp. S. 107.5 x 78 cm.
Provenance: Galerie Burén, Stockholm. Spångberg Collection, Uppsala. Acquired in 1973.
Literature: Gemini G.E.L. 431.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 720
430. Barnett Newman (USA, 1905–1970) “The Moment” from: “Four on Plexiglas”.
Signed and numbered 59/125, dated 1966. Colour screenprint on Plexiglas mounted on paperboard, on wood stretcher. Printed by Knickerbocker Machine & Foundry Inc., New York. Published by Multiples, Inc., New York. 124 x 12.5 x 2.5 cm.
Signed in pencil and numbered 4/125 verso. Screenprint, fabric, cord, and laminated vinyl embedded in plexiglass. Published by Multiples, Inc., New York. 99 x 71 cm.
Provenance: The New Gallery, Ohio. Spångberg Collection, Uppsala.
Literature: Richard H. Axom and David Platzker (ed.), “Claes Oldenburg - A Catalogue Raisonné 1958–1996”, 1997, illustrated p. 101.
Estimate: SEK 25 000 – 30 000 / EUR 2 270 – 2 720
432. Robert Rauschenberg (USA, 1925–2008)
“Yardarm” from Rockery Mounds.
Signed in pencil and numbered 20/53. Lithograph in colours, 1979. Printed and published by Gemini G.E.L., Los Angeles. S. 103 x 77 cm.
Literature: Gemini RR79–897.
Estimate: SEK 15 000 – 20 000 / EUR 1 360 – 1 820
433. Robert Rauschenberg (USA, 1925–2008)
“Untitled” from: Horchow Portfolio.
Signed in pencil and numbered 104/150. Offset lithograph in colours, 1972. Published by Styria Studio, New York. S. 101.5 x 74.5 cm.
Estimate: SEK 18 000 – 20 000 / EUR 1 630 – 1 820
434. Robert Rauschenberg (USA, 1925–2008)
“Samarkand Stitches VII”.
Embroidered signature and dated 88. Unique screen print and fabric collage, 1988. Numbered #21 with marker on machinestitched label verso. From an edition of 72 unique variations, published by Gemini G.E.L., Los Angeles. 124 x 106 cm.
Literature: Gemini RR88–164.
Estimate: SEK 50 000 – 70 000 / EUR 4 530 – 6 340
435. Man Ray (After) (France, 1890–1976) “Compass”. Multiple, published in 1976 (1920). Published by Galeria D’arte Cortina, Milan, numbered on label verso 55/110. Including frame 51 x 36 cm.
Provenance: Bukowski Auktioner, Contemporary Art & Design 650, 25 October 2023, lot 524. Private Collection.
436. Richard Serra (USA, 1939–2024) ”Double Level I”. Signed, dated and numbered 12/22 on label verso. Etching, 2008. Published by Gemini GEL, Los Angeles. S. 182 x 150 cm.
440. Frank Stella (USA, 1936–) “Bene come il sale”, from: “Italian Folktales”. Signed in pencil and numbered 8/50. Etching with relief in colours, 1989. Published by Tyler Graphics, Ltd., Mount Kisco, New York. S. 197 x 149.5 cm.
441. Victor Vasarely (France, 1906–1997) “The Louisiana portfolio”. Signed in pencil and numbered 155/275. The complete portfolio containing 6 serigraphs, 1985. Printed by Silium S.A and Atelier Arcay, Paris. Published by Galerie Börjeson, Malmö. 66 x 66 cm.
442. Andy Warhol (USA, 1928–1987) “Three portraits of Ingrid Bergman by Andy Warhol”. The complete portfolio of three screenprints in colours, 1983, each signed in pencil and numbered 55/250. Printed by Rupert Jasen Smith, New York. Published by Galerie Börjeson, Malmö. S. 96.4 x 96.5 cm. Certificate from Galerie Börjeson is included in this lot.
Provenance: Purchased from Galerie Börjeson, Malmö.
The famous portfolio with Andy Warhol’s three portraits of Ingrid Bergman was first published in 1983 by Galerie Börjeson in Sweden. Warhol’s fascination with Hollywood superstars is well known. Earlier in his career he had produced a number of portraits of film stars using different techniques. On the folder’s flyleaf Per-Olov Börjeson describes a meeting between himself and the artist in which the idea of the portfolio came about:
“At our meeting in the fall of 1982 we discussed these very ‘Warholian’ portraits and whilst talking about the stars of the cinema Ingrid Bergman’s name was brought up. […] It was during this conversation that the idea of a series of graphic prints to honor the memory of a great artist whom we both admired, was born. […]
In these three prints we meet a new Andy Warhol. Gone is the very deliberate sense of distance that characterized the earlier portraits. Objective, and almost documentary in their lack of personal judgment, they are portraits of roles played rather than lives lived by people. The three portraits of Ingrid Bergman, however, reveal Andy Warhol’s personal feelings and unbounded admiration for a woman and actress that he knew.
The titles of the three prints are: ‘The Nun’ (from ‘The Bells of St Mary’s’), ‘With hat’ (from ‘Casablanca’) and ‘Herself’. This last title reveals just how far Andy Warhol has gone. Beyond the portrait of a star-role to a statement of undisguised, personal feeling in a portrait which is so strikingly beautiful as to reveal the mutual kinship between two great artists.”
Andy Warhol
In February 1963, Leonardo da Vinci’s Mona Lisa was shown in America for the very first time. For four weeks, she was displayed in the sculpture hall of the Metropolitan Museum of Art, where her presence drew record crowds and sparked nationwide attention. The tremendous media frenzy surrounding the painting inspired Andy Warhol, who soon created his own versions of the portrait.
A few decades later, he returned to the Old Masters in his series Details of Renaissance Paintings (1984), reinterpreting works by artists such as Botticelli, Piero della Francesca, and Lucas Cranach the Elder.
The highlight of the series is Warhol’s variations on Sandro Botticelli’s The Birth of Venus (1485–86). By cropping and isolating the goddess from her original mythological context, Warhol emphasizes her face and flowing hair as timeless symbols of beauty. His Venus becomes not only a Renaissance deity, but also a contemporary icon with the aura of a Hollywood star.
In the red version from 1984, Venus emerges against a pink background, with flaming red hair and luminous color accents that heighten her presence. Here, Pop Art’s serial techniques merge with a classical subject to create a new vision of divine beauty. Warhol’s Birth of Venus becomes a meeting point between two epochs, where Renaissance ideals are transformed into a modern visual language and a new, universal icon is born.
442 A . Andy Warhol (USA, 1928–1987) “Venus”, from: “Details of renaissance paintings (Sandro Botticelli, Birth of Venus, 1482)”.
Signed in pencil and numbered 20/70. Colour screenprint, 1984. Printed by Rupert Jasen Smith, New York. Published by Editions Schellmann & Klüser, Munich/New York. I. 63,5 x 94 cm. S. 81 x 112 cm.
Provenance: Purchased from Galerie Börjeson, Malmö. Subsequently inherited by the current owner.
443. Andy Warhol (USA, 1928–1987) “Herself”, from: “Three portraits of Ingrid Bergman”.
Signed in pencil and numbered 140/250. Screenprint in colours, 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. 95,7 x 96 cm.
Provenance: Purchased from Galerie Börjeson, Malmö. Then inherited by the current owner.
444. Andy Warhol (USA, 1928–1987) “Frölunda Hockey Player”.
Signed in pencil and numbered AP 4/20. Screenprint in colours, 1986. Printed by Rupert Jasen Smith with blind stamp, New York. Published by Art Now Gallery, Gothenburg. I/S: 100 x 80 cm.
Untitled, from: “Flash - November 22, 1963”. Signed in ballpoint pen verso. Bears numbering 12/236. Screenprint in colours, 1968. Printed by Aetna Silkscreen Products, Inc., New York, published by Racolin Press, Inc., Briarcliff Manor. From the total edition of 236. S. 53.3 x 53.3 cm.
Provenance: Galerie Löwenadler, Stockholm. Tina & Bo Sederowsky Collection.
Literature: Feldman & Schellmann II.39.
Estimate: SEK 50 000 – 60 000 / EUR 4 530 – 5 440
446. Andy Warhol (USA, 1928–1987) Andy Warhol, “Mao”.
Signed in ball-point pen verso and stamp numbered 114/250 verso. Screenprint in colours, 1972. Printed by Styria Studio, New York and published by Castelli Graphics and Multiples Inc, New York. 91 x 91 cm.
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