Bukowskis | Contemporary Art & Design | No 631 | April 2021 by Bukowskis

CONTEMPORARY ART & DESIGN VIEWING: APRIL 15–19 | BER ZELII PARK 1, STOCKHOLM AU C T I O N : A P R I L 2 0 | A R S E N A L S G ATA N 2 , S TO C K H O L M

CONTEMPORARY ART & DESIGN

T U E S D AY

APRIL 20

From 11 am (CEST) Contemporary Art & Design No 631 Number Design

1 – 105

From 1 pm (CEST)

Number

Photography

106 – 239

Contemporary Art

240 – 422

Prints

423 – 455

From 7 pm (CEST)

Important Timepieces N° 630

For inquiries please contact Design & 20th Century Works of Art Eva Seeman, +46 708 92 19 69 eva.seeman@bukowskis.com

Design & 20th–21st Century Works of Art Jonatan Jahn, +46 703 92 88 60 jonatan.jahn@bukowskis.com

Design & 20th Century Works of Art Camilla Behrer, +46 708 92 19 77 camilla.behrer@bukowskis.com

Carpets, Textiles & Islamic Works of Art Anette Granlund, +46 708 92 19 92 anette.granlund@bukowskis.com

Head Specialist Art Andreas Rydén, +46 728 58 71 39 andreas.ryden@bukowskis.com

Photographs, Contemporary Art Karin Aringer, +46 702 63 70 57 karin.aringer@bukowskis.com

Contemporary Art Louise Wrede, +46 739 40 08 19 louise.wrede@bukowskis.com

Prints Marcus Kinge, +46 739 40 08 27 marcus.kinge@bukowskis.com

Cover: Antony Gormley, STATION XIII

46. Mårten Medbo, a cut glass bowl, ‘Core’, Ajeto Glassworks, Novy Bor, Czech Republic, 2010, ed. 1/4.

1. Erik Herløw, a sideboard, ‘Triva modul serie’, Nordiska Kompaniet, 1960s. Veneered in palisander, legs in lacquered steel, brass details, height 65 cm, width 138 cm, depth ca 45 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

2. Arne Norell, a pair of ‘Ariet’, easy chairs for Norell Möbel AB 1960–1970s. Steel base, seats in a cream coloured leather, maker’s mark NORELL Made in Sweden, height 80 cm, seat height 45 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

3. Herbert Ode, a pair floor lamps ‘Triolett’, Ho Armatur, Sjömarken, Sweden ca 1965. Brass, three shades on each lamp, adjustable height ca 240–270 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

4. Anders Pehrson, a rare prototype ‘Tube’ table lamp for Ateljé Lyktan, Åhus Sweden, ca 1973. Transparent and black plastic, maker’s mark, height 39,5 cm, length 79,5 cm. Estimate: SEK 6 000 – 8 000 / EUR 590 – 790

5. , Swedfurn Slätte Möbler, a sofa, Töreboda, Sweden 1970s. Red velvet, internal lamps and loudspeakers, on wheels, height ca 158 cm, length 168 cm, depth ca 92 cm. Estimate: SEK 10 000 – 15 000 / EUR 990 – 1 480

6. James Krenov, a cabinet, executed in his own workshop, Bromma, Sweden ca 1979. American spalted maple, curved doors on an high South American sucupira base, interior with shelves and Indian laurel drawers, signed JK. Height 145 cm, width 41 cm, depth 20 cm. Provenance: Bought directly from James Krenov in 1979. Literature: James Krenov, ‘The fine art of Cabinetmaking’, van Nostrand Reinhold Ltd, USA 1977, compare cabinet p 108. James Krenov, ‘A Cabinetmaker’s notebook’, Van Nostrand Reinhold Ltd 1976, compare similar cabinet illustrated p 99.

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

7. James Krenov, a wall cabinet, executed in his own workshop, Bromma, Sweden ca 1973. Pearwood, curved door, interior with shelves, andaman padauk drawer, signed JK. Height 82,5 cm, width 32 cm, depth 16 cm. Provenance: The cabinet was acquired directly from James Krenov in 1973. Literature: James Knenov, ‘The fine art of Cabinetmaking’, van Nostrand Reinhold Ltd, USA 1977, compare similar cabinet illustrated pp 128-129. James Krenov, ‘A Cabinetmaker’s notebook’, Van Nostrand Reinhold Ltd 1976, compare similar cabinets illustrated pp 8, 21, 98

Estimate: SEK 6 000 – 8 000 / EUR 590 – 790

8. Erik Höglund, two wrought iron and glass candelabra, Boda Smide, Sweden. Height 78,5 and 81 cm. Estimate: SEK 10 000 – 15 000 / EUR 990 – 1 480

9. Erik Höglund, a wrought iron and glass chandelier, Boda Smide, Sweden. Clear hanging glass flaps, partly with relief decoration, for twelve candles, maker’s mark Boda Smide, diameter about 50 cm, height about 100 cm, five extra iron links of about 17 cm, and original ceiling fixture included. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

10. Cecilia Setterdahl, A carpet, ‘Itinerary Blue’, 3/10, hand–knotted, ca 243,5 x 171, cm, Carpets CC Dubai.

11. John Kandell, a ‘Gestalten’ cabinet, ed. 4/100, for Källemo, Sweden post 1989.

Hand–knotted in India. The ten examples of ‘Itinerary’ are all in different colour combinations.

Mahogany, stamped and numbered 4/100, height 202 cm, width 25 cm (the crest 50,5 cm), depth 35,5 cm.

Exhibitions: Galleri Nya Mor Oliviagården, Ronneby 2018. (d)

(d)

Estimate: SEK 15 000 – 18 000 / EUR 1 480 – 1 770

12. John Kandell, an easy chair, ‘Vilan’, Källemo, Sweden, post 1988. Black lacquered wood, seat in cowhide, black leather neck cushion, marked JK, height 78 cm, length 125 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

13. Erik Lindgren, a dining table, executed in his own workshop, 1960s. Oak top with a rectangular pattern, oak frame and feet, legs in steel, cabinetmakers’ mark, height 74 cm, diameter 140 cm. Estimate: SEK 10 000 – 15 000 / EUR 990 – 1 480

14. Olle Baertling, a carpet, ‘Erey’, hand tufted, Baertling/Asplund, ca 199 x 99,5 cm. A design in green, red and black by Olle Baertling. The carpet is produced by Asplund in connection with the Baertling–stiftelsen (the Baertling–foundation) after a painting. It is handtufted in India around 1999. ‘Erey’ is produced in 50 examples. Two labels at the back. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

15. Igor Cronsioe, a pair of folding chairs, ‘Sudden Seat’, ed. 76/95 & 87/95, Futura Gallery, Stockholm, Sweden 1983. Lacquered wood, numbered and signed 76/95 and 87/95 Igor Cronsioe, height 79 cm, seat height 45 cm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

16. Kersti Sandin & Lars Bülow, a ‘Hommage Josef Frank’ cabinet on stand, ed. 25/120, Karl Andersson & Söner, Sweden 1985. Red lacquered, details and stand lacquered in black, semicircular mirror on top, label marked and signed ‘HOMMAGE JOSEF FRANK DESIGN SANDIN & BÜLOW SKÅP NR: 25 AB KARL ANDERSSON & SÖNER HUSKVARNA SWEDEN’ and signed Sandin & Bülow. Height 159, width 65, depth 30 cm.

17. Hans–Agne Jakobsson, a pair of ‘Sonata’ ceiling lamps, Hans Agne Jakobsson AB, Markaryd, Sweden, 1960–1970s.

(d)

Brass, 10 clear glass shades each, maker’s mark, Hans Agne Jakobsson AB Markaryd Made in Sweden, height ca 250 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

18. Olle Borg, a carpet, ‘Composition 1’, hand tufted, ca 220 x 163 cm, signed Olle Borg EA 2/3 at the back on one of the labels. Made in collaboration with Asplund Art Rugs. Two labels at the back. (d)

Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

39. Mats Theselius, an ‘El Dorado’ easy chair, ed. 61/360, Källemo Sweden post 2002.

19. Lars Englund, a chair, for Skelder AB, 1990s. Black lacquered metal base, seat and back covered in black leather, maker’s mark, height 94 cm. Provenance: Björn Springfeldt Collection, Stockholm

Estimate: SEK 5 000 – 7 000 / EUR 490 – 690

20. Mats Theselius, a double ‘National Geographic’ bookcase, Källemo AB, Sweden, no 76 and 77. Two yellow lacquered cabinets mounted to a beech base, brass finials with plates marked: Bookcase cabinet for the National Geographic magazine Mats Theselius 1990, produced by Källemo AB Sweden, No 76 samt 77. Height 176 cm, width 115,5 cm, depth 21,5 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

21. Mats Theselius, an ‘Aluminium’ easy chair, ed. EA 3/5, for Källemo, Sweden post 1990. Aluminum, beech, seat and back upholstered with braided birch bark, marked with metal label ALUMINIUMFÅTÖLJ No EA 3/5 MATS THESELIUS 1990 KÄLLEMO AB, seat height 48 cm, height 73 cm. Provenance: Björn Springfeldt Collection, Stockholm (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 910 – 5 890

22. Mats Theselius, an ‘Älgskinnsfåtöljen’, easy chair, ed. 65/360, for Källemo, Sweden post 1991. Iron plate, beech wood, seat in elk leather by Tärnsjö, marked ÄLGSKINNSFÅTÖLJ MATS THESELIUS 1991 65/360 KÄLLEMO SWEDEN, height 78 cm, seat height ca 45 cm. (d)

Estimate: SEK 50 000 – 75 000 / EUR 4 910 – 7 360

23. Nordic design, a runner, knotted pile, ca 240 x 81 cm, Sweden, 1950s–1960s. A diagonal checkered pattern in a variety of blue nuances. Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

24. Hilma af Klint, a carpet, ‘Group III, no 5, The Large Figure Paintings’, 10/30, hand tufted, ca 201 x 162,5 cm. Produced by Asplund in collaboration with the Hilma af Klint Foundation. Hand tufted in India around 2019. Edition of 30. Two labels at the back. Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

25. Karin Björquist, a 54 pieces ‘Nobel’ bone china dinner service, Rörstrand post 1991. Decorated in yellow, blue, green and gold, stamped Rörstrand NOBEL DESIGN KARIN BJÖRQUIST BONE CHINA. 6 large plates, white and gold (diam 31,5 cm), 6 plates, white and gold (diam 25,5 cm), 6 plates, yellow and gold (diam 25,5 cm), 6 plates, green and gold, (diam 22 cm), 6 plates, blue and gold, (diam 22 cm), 6 bowls (diam 16,5 cm), 6 bowls with covers, 6 coffee cups with saucers, 6 small side dishes (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

26. Gunnar Cyrén, a 73 pieces ‘Nobel’ glass service, Orrefors, Sweden post 1991. Hand painted gilt decor, comprising: 12 champagne flutes (height 22 cm) 12 martini/champagne glasses (höjd 12 cm) 12 shot glasses (height 15 cm) 12 red wine glasses / beer glasses (height 19,8 cm) 12 wine glasses (height 18 cm) 12 wine glasses (height 16,3 cm) 1 candlestick (height 23,3 cm) Etched maker’s marks and label marked. Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

27. Gunnar Cyrén, a 31 pieces ‘Nobel’ glass service, Orrefors, Sweden, post 1991. 8 wine glasses (height 18,3 cm) 6 wine glasses (height 14 cm) 5 martini / champagne glasses 5 cocktail sticks 6 shot glasses (height 15,2 cm) 1 candle cup Etched maker’s mark Orrefors Sweden and marked with paper labels. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

28. Rolf Hanson, a ‘Pelare’ cabinet, ed. 37/90, for Källemo, Värnamo, Sweden, post 1991. Blue stained alder on a granite base, decorated with painted spots, two doors with green patinated bronze handles, four shelves. Signed Rolf Hanson Källemo and numbered 37, height 209 cm, width ca 48 cm, depth ca 43 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

29. Ernst Billgren, ‘And i vas’ (Duck in vase), Kosta Boda, Sweden, ed. 28/30. Glass, signed 7428003 Kosta Boda Limited 28/30 Ernst Billgren. Height 29,5 cm, diameter 19,7 cm, in original oak box with certificate, 38 x 28,5 cm, height 31 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

30. Ernst Billgren, ‘Snöripa i lä’ (Grouse in shelter), Kosta Boda, Sweden, ed. 27/30. Glass, signed 7428001 Kosta Boda Lim. ed. 27/30 Ernst Billgren, ca 31,5 x 28,5 cm, height 23 cm, in original oak box with certificate, 40 x 36 cm, height 33,5 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

31. Reino Björk, a ‘painted graal’ glass sculpture/vase from the ‘New Eden series’, New York Experimental Glass Workshop, USA 1990s. Decorated inside the glass with a skull in black and white, mouth and base with gilt decoration, height 33 cm, total height including an iron base with gilt decoration 51 cm. Literature: Jan Brunius and others, ‘Svenskt Glas’, Wahlström & Widstrand 1995, compare the sculpture ‘Kobris’ from the same series, ill p 323. (d)

Estimate: SEK 6 000 – 8 000 / EUR 590 – 790

32. Reino Björk, a ‘Bad Love’ glass sculpture/vase from the ‘New Eden series’, New York Experimental Glass Workshop, USA 1990. Decorated inside the glass in black, white, green and yellow, mouth and base with gilt decoration, signed ‘BAD LOVE’ Reino Björk New York 1990. Height 35 cm, total height including an iron base with gilt decoration 62,5 cm. Literature: Jan Brunius and others, ‘Svenskt Glas’, Wahlström & Widstrand 1995, compare the sculpture ‘Kobris’ from the same series, ill p 323. (d)

Estimate: SEK 6 000 – 8 000 / EUR 590 – 790

33. Per B. Sundberg, a glass vase, Orrefors, Sweden 2003. Decorated with palmprints in black against a white frosted ground, signed Orrefors Limited 2003 943787 Per B Sundberg 14–20, height 50 cm, diameter 18 cm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

43. Alexander Lervik, a ‘Red Chair’, ed. 6/10, Gallery Pascale 2005.

34. Mats Theselius, an ‘El Rey’ armchair, ed. 317/360, for Källemo, Sweden post 1999. Brass and black leather, signed el Rey by Mats Theselius 1999 Nr: 317/360 copies for Källemo, Sweden, seat height 31–36 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

35. Mats Theselius, a ‘The Ritz’ easy chair, ed. 79/90, for Källemo, Sweden post 1994. Black lacquered steel frame, the armrests with inlays of elk horn, upholstered in black leather, the back legs with wheels. Marked with metal plaque: THE RITZ Mats Theselius 1994 No 79/90 KÄLLEMO VÄRNAMO SWEDEN. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 950 – 3 440

36. Matti Klenell, a glass installation ‘Carambole’, Ajeto Glassworks, Czech Republic 2008. Spheres in white and black, some pieces fixed, totally 12 separate pieces, the five largest pieces signed Matti Klenell ‘Carambole’ 2008, height ca 59,5 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

37. Love Arbén, an ‘Ono’ cabinet for Lammhults, Sweden 1995. Cabinet in birch, base in black lacquered metal, maker’s mark, height 134 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

38. Mats Theselius, an ‘El Dorado’ lounge chair, ed. 153/360 Källemo Sweden post 2002. Brass, natural brown leather, birch, label marked EL DORADO by Mats Theselius 2002 No 153/360 KÄLLEMO AB SWEDEN, seat height ca 47 cm, height 78 cm, width 65 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

39. Mats Theselius, an ‘El Dorado’ easy chair, ed. 61/360, Källemo Sweden post 2002. Brass, natural brown leather, birch, label marked EL DORADO by Mats Theselius 2002 No 61/360 KÄLLEMO AB SWEDEN, seat height ca 47 cm, height 78 cm, width 65 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

40. Gunilla Kihlgren, and Pino Signoretto, a glass sculpture, Murano, Italy 2003. Decorated with a shell to interior, signed Gunilla Kihlgren 2003 Pino Signoretto. Height ca 54 cm.

41. Gunilla Kihlgren, a glass sculpture ‘No title’ on a bronze stand, 1998. Mottled glass in red and brown hues. Length ca 45 cm, height including stand ca 40,5 cm.

Provenance: Galleri IngerMolin, Stockholm 2007. (d)

Provenance: This sculpture was the the first prize in the lottery by ‘Konsthantverkets Vänner’ in Stockholm 1998. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

42. Sigvard Håkansson, a ‘2+1’ chair, ed. 25/25, Sigvard Design AB Linköping, Sweden 2003. Frame of red lacquered birch plywood, top and bottom with airplane plywood, back legs and in–between distance in stainless steel pipe, marked 2003 25 SH, seat height ca 45 cm, height 83,5 cm, width 38 cm, depth 54 cm. Literature: The chair is presented in the magazine Elle Interiör September 2001 and shown in the SVT TV–production ‘Bästa formen’, Februari 2005. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

43. Alexander Lervik, a ‘Red Chair’, ed. 6/10, Gallery Pascale 2005. Made from seven red lacquered steel sticks, maker’s mark the red chair Gallery Pascale 6/10 Design by Alexander Lervik 2005, height 71 cm. Exhibitions: ‘Five playful chairs’, Gallery Pascale, Stockholm 2005. Literature: Modern furniture: 150 years of design = Meubles modernes : 150 ans de design = Moderne möbel : 150 jahre design, Updated ed., H.F. Ullmann, Potsdam, 2012, p. 75. Lervik, Alexander & Nova Beatrice, Hanna, 15 x years, 15 x photographers, 15 x chairs, Arvinius + Orfeus, Stockholm, 2013. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

44. Kerstin Olby, a ‘Rhapsody’ cabinet by Olby Design, a unique prototype, Sweden 2010. A total of 16 drawers, lacquered in blue colours, marked with label, height 134 cm, width 82 cm, depth 37 cm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

45. Hanna Hansdotter, a ‘Dripping print’ glass sculpture, The Glass Factory, Boda Glasbruk, Sweden 2018. Mould blown and silvered glass, coloured soft pink metallic, signed Hanna Hansdotter 2018, height 44,5 cm. This is the original in an edition of 1+2 AP (Artist’s proof). Glassblower Björn Friborg + Mikael Jacobsson. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

45. Hanna Hansdotter, a ‘Dripping print’ glass sculpture, The Glass Factory, Boda Glasbruk, Sweden 2018.

46. Mårten Medbo, a cut glass bowl, ‘Core’, Ajeto Glassworks, Novy Bor, Czech Republic, 2010, ed. 1/4. Oval shaped with cut geometric decoration in high relief against green underlay, signed MÅRTEN MEDBO –10, measurements 26,5 x 19,5 cm, height 12,5 cm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

47. Mårten Medbo, a glazed stoneware sculpture, ‘Hose’, dated 2012. Signed MMEDBO –12, height ca 34 cm. Literature: ‘Mårten Medbo Works’, Elanders, Sweden, 2013, see p 64. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

48. Ernst Billgren, a pair of patinated bronze jardinières, ‘I trädkronan’, 2002, ed 9/100 and 10/100. Relief decor of animal heads and branches with oak leaves and acorns, handles, marked underneath 9/100 EB and 10/100 EB. Height ca 45,5 cm. Provenance: Lars Bohman Gallery, Stockholm. Reportedly according to Ernst Billgren there were only about 40 pieces executed. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

49. Anders Jakobsen / Radicalsloyd, a pair of stools, his own studio 2021. Base in green lacquered plywood, seat in pine sculptured with a chainsaw, seats in leather, stamped RS 21, height 44 cm, length 65 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

50. Verner Panton, a carpet, ‘Square, Multi colour’, machine made pile, ca 199,5 x 137 cm, designed by Verner Panton. Mira–Romantica. Between 1973–1977. A glued label at the back. Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

51. Mats Theselius, an ‘Inox’ armchair, ed. 32/199, for Källemo, Sweden post 2015. Polished steel, white soaped oak and white nubuck leather, maker’s mark Aluminium chair 25th Anniversary Inox no 32/199 Mats Theselius Källemo 2015, height 72,5 cm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

52. Attila Suta, a pair of chest of drawers, in an edition of 10, Studio Attila Suta 2015. The front with relief, walnut and black stained ash, drawers in ash, marked Attila Suta Kunglig Hovleverantör, height 79,5 cm, width 100 cm, depth 40 cm. Estimate: SEK 20 000 – 30 000 / EUR 1 970 – 2 950

53. Ilmari Tapiovaara, attributed to, a dinner table with two benches, probably Finland 1950–1960s. Birch frame, the top veneered with ash, the table 132 x 69 cm, height 70 cm, the benches 134 x 32 cm, height 43,5 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

54. Charles and Ray Eames, ‘RAR’, rope edge, rocking chair, Zenith Plastics / Herman Miller 1950s. Yellow glassfiber reinforced plastic with rope edges, base in zinc plated metal, walnut runners, maker’s mark Zenith Plastics Herman Miller, height ca 67 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

55. Florence Knoll, a sideboard, Knoll International, executed on license by Nordiska Kompaniet NK Inredningar Sweden 1966. Front and back venered in walnut, marble top, handles and base in chrome plated metal, interior in oak, locks for cabinets and drawers, maker’s mark 1966, height 65 cm, width 190 cm, depth 45,5 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

56. Kinga Shabo, a table, Arabia Finland 1970s. Base in metal, top in ceramic plaques with motifs of birds and flowers, signed Arabia Kinga Shabo, height 40 cm, length 105 cm, depth 44 cm. Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

57. A pair of Scandinavian easy chairs, 1960s. Wood, seat in sheepskin, armrests and neck cushion in brown leather, height 88 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

58. Robert Indiana, a carpet, ‘White on Black’, Chosen Love, hand tufted in 1995, ca 246,5 x 245,5 cm, Robert Indiana. A cut decoration and a signature in relief. A signed label at the back: numbered 123/175. ‘Hand made in Israel. Materials: Skein dyed, hand carved and hand tufted, Archival New Zealand wool on stretched canvas with natural latex backing’. The design LOVE was created by Robert Indiana in the 1960s. Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

59. Poul Kjaerholm, a set of ‘PK–71’ occasional tables, probably for E Kold Christensen, Denmark. Polished steel frames, black acrylic tops, measurements of the largest table 28 x 28 cm, height 28,5 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

60. Poul Kjaerholm, a ‘PK–80’ black leather and steel base daybed, edition Fritz Hansen, 2013. Marked to the steel and label marked. 190 x 80 cm, height 30 cm. Estimate: SEK 50 000 – 75 000 / EUR 4 910 – 7 360

61. Poul Kjaerholm, a pair of black leather and steel ‘PK–91’ folding stools, edition Fritz Hansen, Denmark. Label marked Republic of Fritz Hansen. 59 x 45 cm, height 40 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

62. Poul Henningsen, a pair of table lamps, ‘PH–5’, Louis Poulsen, Denmark. Lacquered metal, maker’s mark Louis Poulsen Made in Denmark, height 61 cm, diameter ca 45 cm. Literature: Tina Jørsten and Poul Erik Munk Nielsen, eds, ‘Light Years Ahead: The Story of the PH Lamp’ 1994, p. 283.

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

63. Hans J Wegner, ‘The Valet Chair’, model PP–250, for PP møbler, Denmark 2007. Mahogany, details in wenge, leather and brass, maker’s mark PP møbler Denmark Design Hans J Wegner 2007, height 95 cm, seat height 44 cm. Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

60. Poul Kjaerholm, a ‘PK–80’ black leather and steel base daybed, edition Fritz Hansen, 2013.

64. Preben Fabricius & Jørgen Kastholm, a pair of easy chairs ‘Bo 561’, Bo–Ex Denmark, 1960s. Steel base, seat and back covered in a linen fabric, height ca 70 cm, seat height 34 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

65. Preben Fabricius & Jørgen Kastholm, a sofa table, model ‘BO–551’, for Bo–Ex, Denmark. Slate top and steel base, 140 x 76 cm, height 43 cm. Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

66. Preben Dal, a ‘Symphony’ ceiling or table lamp, for Hans Følsgaard, Elektro HF Belysning, Denmark 1960s. White and grey painted metal, height 46 cm, diameter ca 60 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

67. Verner Panton, a pair of wall/ceiling lamps, Lüber 1960–1970s. Aluminium, one light socket behind a spherical shade, 62 x 62 cm, depth including shade ca 21 cm. Provenance: Designed for the Spiegel–Verlagshaus in Hamburg, Germany 1969. This execution is from a project that never was realised, thus this unpainted finish.

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

68. Pietro Chiesa, a floor lamp, Fontana Arte Italy, post 1935. Steel, one light socket, height 187 cm. Literature: Literature; Domus, n. 115, luglio 1937, p. 16, pubblicità; F. Deboni, Fontana Arte. Gio Ponti, Pietro Chiesa, Max Ingrand, Allemandi Editore, Torino, 2012, ill. 95, 96.

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

69. Piero Fornasetti, a waste paper basket, Milan, Italy 1960s. Printed decoration with medallions, brass rim, on six feet, marked Fornasetti Milano Made in Italy. Height 28 cm, diameter 26 cm. Estimate: SEK 6 000 – 8 000 / EUR 590 – 790

70. Piero Fornasetti, an umbrella stand, Milan, Italy 1960s. Printed decoration with cannons, brass rim, on six feet, marked Fornasetti Milano Made in Italy. Height 57 cm, diameter 26 cm. Estimate: SEK 6 000 – 8 000 / EUR 590 – 790

71. Piero Fornasetti, a pair of bar stools, Milano, Italy, 1960–1970s. Black lacquered metal base, lacquered chord seats, seat height ca 70 cm, height 90 cm. Estimate: SEK 20 000 – 30 000 / EUR 1 970 – 2 950

72. Piero Fornasetti, an oval printed and lacquered sheet metal tray, Milan, Italy, probably 1960s. Decorated with different keys against a red lacquered ground. Maker’s mark underneath: FORNASETTI MILANO MADE IN ITALY, 38,5 x 50 cm. Estimate: SEK 4 000 – 5 000 / EUR 400 – 490

73. Piero Fornasetti, an oval printed and lacquered sheet metal tray, Milan, Italy probably 1960s. Decorated with a bowl of cherries against a black ground, maker’s mark underneath, 34,5 x 45,5 cm. Estimate: SEK 4 000 – 5 000 / EUR 400 – 490

74. Hans Hopfer, a modular sofa ‘Mah Jong’, Roche Bobois / Missoni 21st Century. 10 moduls, upholstered in a Missoni fabric, maker’s mark, each modul ca 100x 100 cm, total height 70 cm. Estimate: SEK 20 000 – 30 000 / EUR 1 970 – 2 950

75. Angelo Donghia, probably, a coffee table, for Donghia Rubelli group, Italy 21st Century. Glass and brass, height 34 cm, length 120 cm, width 70 cm. Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

51. Mats Theselius, an ‘Inox’ armchair, ed. 32/199, for Källemo, Sweden post 2015.

76. Luigi Massoni, a pair of easy chairs, Poltrona Frau, Italy 1970s. Covered in cognac coloured leather, feet in metal, seat height 43 cm, height 67 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

77. Ludovico Diaz De Santillana, a ‘Palotta’ glass table lamp, Venini, Italy 1960–1970s. Grey tinted glass bowl with 19 smaller glass balls in blue, clear and grey tinted colours, glass base, the diameter of the large bowl ca 45 cm. Literature: Venini Glass, Its history, artists and techniques – Franco Deboni p. 254.

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

78. Philip Baldwin and Monica Guggisberg, ‘Abaco’, lamp, Venini, Italy 1999. Metal stem, five spherical shades in glass, maker’s mark Venini design Guggisbrg– Baldwin Abaaco, one shade signed Venini 99, height ca 180 cm, adjustable total height ca 250–350 cm. Estimate: SEK 10 000 – 15 000 / EUR 990 – 1 480

79. Willy Rizzo, a sideboard for Mario Sabbot, Italy 1970s. Black lacquered wood, details in chrome plated metal, the interior with shelves, height 75,5 cm, width 176 cm, depth 47 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

80. Achille Castiglioni, & Pier Giacomo Castiglioni, a pair of table lamps, ‘Taccia’, for Flos, Italy post 1962. Aluminium base, glass shade with metal cover, marked with label FLOS Taccia 121, height ca 65 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

81. Marcello Vecchi and Francesco Trabucco, a desk modell ‘Sc73’, Poggi, Italy, 1983. Teak, front in different heights with drawers, height 72–102 cm, width 160 cm, depth 75 cm. Literature: Literature R. Dulio, F. Marino, S.A. Poli, Il mondo di Poggi. L’officina del design e delle arti, Electa, Milano 2019, p. 146

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

82. Ruth Malinowski, a tapestry, flat weave, ca 101,5–102 x 99–100 cm, signed and dated on a label at the back: Ruth Malinowski 1989. A modernistic composition in blue, black and grey. Ruth Malinowski creates textiles with concretistical decor. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

83. Gino Sarfatti, a ‘238–3’, wall lamp, Arteluce, Italy, post 1959. Brass, three frosted glass shades, height ca 20 cm, width ca 64 cm, depth 36 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

84. Raphael Raffel / Raphaël, a ‘Croissant’ sofa, Maison Honoré, Paris 1970s. Burgundy leather, height ca 75 cm, length ca 290 cm, depth ca 150 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

105. Patrick Norguet, a ‘Rainbow Chair’ for Cappellini, post 2000.

85. Borek Sipek, an ‘Ota Otanek’ chair by Vitra, post 1988. Enamelled steel, the back rest in copper, seat and legs in blackened wood, label marked, height 76 cm. Estimate: SEK 6 000 – 8 000 / EUR 590 – 790

86. Borek Sipek, 6 ‘Sedlak’ chairs for Vitra, post 1992. Beech frame and brushed aluminum, rubber seat, maker’s mark Sedlak Borek Sipek, seat height 47 cm, height 87 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

87. Sergio Mazza, 3 ceiling lamps, ‘Pi Cavo’, Artemide, Italy 1960s. Frosted glass, painted and nickel plated metal, height 36 cm, adjustable total height ca 130 cm, diameter ca 25 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

88. Tobia Scarpa, & Afra Scarpa, a dining table for Poggi, Italy 1970s. Smokey grey glass top with etched edges, two legs in bronze plated metal, height 73 cm, length 200 cm, width 95 cm. Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

89. Ettore Sottsass, a ‘Tahiti’, table lamp, Memphis, Milan, post 1981. Base in ‘Bacterio’ patterned laminate, polychrome enamelled metal, adjustable shade with one light socket, marked with label: Memphis Milano Ettore Sottsass 1981 Made in Italy, height 66–71 cm. Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

90. Ettore Sottsass, a ‘Shiva’ pink glazed ceramic vase, B.D Barcelona, Spain post 1973. Maker’s mark b.d E.SOTTSASS. Height 24,5 cm. Estimate: SEK 4 000 – 5 000 / EUR 400 – 490

91. Jan Bocan, a table and four chairs for the Czechoslovakian embassy in Stockholm 1972, produced by Thonet. Base in red lacquered beech wood, seats in a violet textile, height of the table 72 cm, the top 125 x 125 cm, height of the chairs 79 cm. Provenance: The Czechoslovakian embassy in Stockholm.

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

92. Nicoletti Salotti, an ‘Ambassador’, sofa, Italy 1970–1980s. Covered in black and white leather, height 77 cm, width 220 cm. Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

93. Nicoletti Salotti, a pair of ‘Ambassador’, easy chairs, Italy 1970–1980s. Covered in black and white leather, height 80 cm, width 110 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

24. Hilma af Klint, a carpet, ‘Group III, no 5, The Large Figure Paintings’, 10/30, hand tufted, ca 201 x 162,5 cm.

94. Maurizio Bertoni, a floor lamp, Castaldi Illuminazione, Italy 1980s.

95. Maurizio Bertoni, a floor lamp, Castaldi Illuminazione, Italy 1980s.

96. Studio A.R.D.I.T.I., a ‘B.T. Lamp’, Sormani Spa, Italy ca 1971.

Black lacquered aluminium, maker’s mark Ing Castaldi Illuminazione, height 195 cm.

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

Base in wood and metal, a metal bow with two lamps, magnetic fixture to the base, maker’s mark Sormani Lampada B.T. STUDIO ARDITI, height ca 46 cm. Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

97. Michael Anastassiades, a ‘Ball light’, ceiling lamp, first edition for The Apartment in Copenhagen, London 2012. Brass, three light arms in different heights, marked with label Ball light 17/7/12, height ca 168 cm. Provenance: The Apartment, Copenhagen, 2012.

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

98. Philippe Starck, ‘Petite Etrangete Contre Un Mur’, a sculpture/vase, ed. 50/50, Daum, Nancy, France, 1980s. Clear and green glass, signed Daum Starck 50/50, height 70 cm, width 40 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

99. Lindsey Adelman, a ‘Catch CS.07.01.’ ceiling lamp, Studio Lindsey Adelman, Los Angeles, USA, 2016. Brushed bronze base, 7 white glass shades, maker’s mark, length 150 cm, depth ca 50 cm, height ca 130 cm. Estimate: SEK 75 000 – 100 000 / EUR 7 360 – 9 820

100. Lindsey Adelman, a ‘Catch CS.07.01.’ ceiling lamp, Studio Lindsey Adelman, Los Angeles, USA, 2016. Brushed bronze base, 7 white glass shades, maker’s mark, length 150 cm, depth ca 50 cm, height ca 130 cm. Estimate: SEK 75 000 – 100 000 / EUR 7 360 – 9 820

101. Lukas Göthman, a carpet, handtufted, ‘Drifters and lovers longing dreaming’, 7/25, ca 218–238 x 140–160 cm. Made in India in collaboration with Asplund Carpets. Two labels at the back. Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

102. Alexis Verstraeten & Pauline Montironi, a ‘Miss Flamingo’ easy chair, AP Collection, ed. AP1, Belgium 2017. Vintage chrome plated steel base by Paul Paulin, 1960s, upholstered with white Icelandic sheepskin and pink stuffed plush flamingos, label marked and signed underneath: AP Collection Artist Proof. Height ca 95 cm, seat height ca 38 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

103. Wiliam Brand & Anette van Egmond, a ‘Hollywood’ ceiling lamp, Brand van Egmond, The Netherlands 21st Century. Nickel plated metal in the shape of a tree, maker’s mark, diameter ca 80 cm, height ca 26 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

104. Ingo Maurer, a ‘Birdie’ ceiling lamp, Studio Ingo Maurer 21st century. Metal, goose feathers, red electrical cords, twelve lights, height ca 95 cm, diameter ca 55 cm. Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

105. Patrick Norguet, a ‘Rainbow Chair’ for Cappellini, post 2000. Polychrome acrylic resin bands, fused together with ultrasound, seat height 45 cm, height 80 cm. Estimate: SEK 50 000 – 60 000 / EUR 4 910 – 5 890

100. Lindsey Adelman, a ‘Catch CS.07.01.’ ceiling lamp, Studio Lindsey Adelman, Los Angeles, USA, 2016.

106. Denise Grünstein, ‘Looking at the Overlooked’, 2015. From the series ‘1866’. Signed Denise Grünstein and numbered AP 3/3. Total edition of 12 + 3. C–print mounted to aluminum and framed, image 44 x 55.5 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

107. Nygårds Karin Bengtsson, ‘Dunce Cap’, 2015. Signed Nygårds Karin Bengtsson and numbered 2/5 + 2 AP on verso. C–print silicone mounted to glass and aluminum 53 x 60 cm. Provenance: Domeij Gallery, Stockholm. Tom Böttiger Collection, Stockholm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

108. Maria Friberg, ‘Commoncause’, 2008. Signed Maria Friberg and numbered AP 2/3 on verso. Total edition of 10 + 3 AP. C–print, wood, laminate 46 x 63 cm. Provenance: Galleri Charlotte Lund, Stockholm. Private Collection, Stockholm. Literature: Maria Friberg, ‘Maria Friberg’, 2008, illustrated on pl. 2. Maria Friberg, ‘Maria Friberg’, 2015, illustrated on p. 47. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 970 – 2 950

109. Anders Krisár, ‘Chord #1’, 2001–2002. Signed Krisár and numbered 5/6 on verso. The book ‘Anders Krisár: Chords No. 1–17’ and CD included in lot. C–print mounted to aluminum 112 x 140 cm. Literature: Anders Krisár, ‘Anders Krisár’, 2011, illustrated on p. 49. Gösta Flemming (ed.), ‘Anders Krisár: Chords No. 1–17’, 2011, illustrated on fullpage. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

110. Christer Strömholm, ‘Kyssen, Paris’, 1962. Also titled ‘Kischka & Daniel, Paris, 1962’. Signed CHR and by fingerprint on verso. Printed in 1996 by Örjan Kristenson. Gelatin silver print, image 44 x 34.5 cm. Sheet 50 x 40 cm. Provenance: A gift from the photographer to the current owner. Literature: Hasselblad Center, ‘Imprints by Christer Strömholm – The Hasselblad Award 1997’, illustrated on p. 85. Christer Strömholm & Centro de la Imagen, ‘Nueve segundos de mi vida – Christer Strömholm’, 1999, illustrated on p. 32. Joakim & Jakob Strömholm, ‘Christer Strömholm 1918-2002, On verra bien’, 2002, illustrated on fullpage p. 60. Joakim Strömholm & Patric Leo (ed.), ‘Post Scriptum Christer Strömholm’, 2012, illustrated on fullpage p. 35. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

111. Lennart Olson, ‘Emilia Romagna XVI’, 1983. Signed Lennart Olson and dated 1986. Numbered No 9. Vintage. Gum print, image 42 x 48 cm. Sheet 45 x 54 cm. Proveniens: Directly from the photographer to the family of the current owner. Literature: Lennart Olson and Ulf Hård af Segerstad, ‘From One Side to the Other. Bridges Photographed by Lennart Olson’, 2000, illustrated on fullpage p. 103. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

112. Hans Gedda, ‘Charlie Rivel’, 1980. Signed Hans Gedda. Presumably from an edition of 10. Gelatin silver print, image 69.5 x 69 cm. Literature: Magnus Olausson e.a, ‘Hans Gedda; Det tredje ögat’, 2013, illustrated on fullpage p. 51. Bodil Malmsten and Hans Gedda, ‘Cirkus Circus Cirque’, 1995, illustrated on fullpage. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 970 – 2 950

113. Mikael Jansson, ‘Vase, Marrakesh’, 1990. Signed Mikael Jansson and numbered 1/6 on verso. Printed in 2006. Gelatin silver print mounted to aluminum and framed, image 30.5 x 24 cm. Provenance: Acquired directly from the photographer by the current owner. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

114. Edouard Boubat, ‘Madras’, 1971. Signed E. Boubat. Gelatin silver print, image 36 x 23.5 cm. Provenance: Camera Obscura, Stockholm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

115. Ann Eringstam, ‘In Search of Wonderland #7’, 2011 Signed Ann Eringstam on label verso. Edition 1/5 + 2 AP. C–print silicone mounted to aluminum and acrylic glass 50 x 150 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

116. Helena Blomqvist, ‘Group Portrait in Forest’, 2011. From the series ‘The Elephant Girl’. Signed Helena Blomqvist and dated 2011 and numbered 3/6 on label verso. Total edition of 6 + 2 AP. Pigment print, image 102 x 130 cm. Provenance: Angelika Knäpper Gallery, Stockholm. Literature: Sophie Allgårdh, ‘Passioner och bestyr: svensk konst på 2000–talet’, SAK, 2011, illustrated on fullpage p. 28. Helena Blomqvist, ‘Helena Blomqvist’, 2012, illustrated on fullpage. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

117. Jacob Felländer, ‘Blue Kaos’, 2009. Signed Jacob Felländer and numbered 1/2 AP on certificate on verso. Printed in 2012. C–print mounted to glass 80 x 175 cm. Provenance: Acquired directly from the artist by the current owner. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

118. Esko Männikkö, ‘Kuivaniemi’, 1995. Signed Esko Männikkö and dated 2011 and numbered 5/20 on verso. C–print mounted to kapa board and framed, 93 x 113 cm including the artist’s frame. Provenance: Galerie Nordenhake, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

119. Maria Friberg, ‘Alongside Us #5’, 2007. Signed Maria Friberg and numbered 4/5 on verso. C–print silicone mounted to acrylic glass 78 x 100 cm. Literature: Maria Friberg, ‘Maria Friberg’, 2008, illustrated on p. 5. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 910 – 5 890

120. Anders Krisár, ‘Janus 1’, 2006. Signed Krisár and numbered 1/6 on verso. C–print mounted to glass 40 x 50 cm. Provenance: Galleri Mårtenson & Persson, Stockholm. Literature: Anders Krisár, ‘Anders Krisár’, 2011, illustrated on p. 147. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

121. Terry O’Neill, ‘Frank Sinatra, Miami Beach, 1968’. Signed Terry O’Neill and numbered AP. Total edition of 50 + 10 AP. Gelatin silver print, image 61.5 x 94 cm. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on spread p. 284–285. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

122. Hans Gedda, ‘Kung Carl XVI Gustafs hand’, 1996. Signed Hans Gedda. Gelatin silver print, image 33 x 32.5 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

123. Terry O’Neill, ‘Amy Winehouse’, 2008. Signed Terry O’Neill and numbered 3/50. Gelatin silver print, image 54 x 45.5 cm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

124. Christer Strömholm, ‘Lyon’, 1964. Signed Christer Strömholm and dated 1979 on the back of the mount. Printed by Bengt–Göran Carlsson in 1979. Vintage. Gelatin silver print laid down on cardboard, image 21 x 29 cm. Sheet 21.5 x 29.5 cm. Literature: Joakim Strömholm & Patric Leo (ed.), ‘Post Scriptum Christer Strömholm’, 2012, illustrated on p. 270. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

125. Lennart Olson, ‘Röd signal/Red light, Stockholm’, 1970. Signed Lennart Olson. With dedication dated 2002. Gelatin silver print, image 33 x 25 cm. Sheet 40 x 30 cm. Provenance: Directly from the photographer to the family of the current owner. Literature: Lennart Olson and Pontus Hultén, ‘Looking back’, 2001, illustrated on spread p. 65. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

126. Gisèle Freund, ‘Frida Kahlo’, 1948. Signed Gisèle Freund and with copyright stamp on verso. Gelatin silver print, image 18.7 x 17 cm. Sheet 24 x 19 cm. Provenance: Directly from the photographer by the current owner. Literature: Gérard de Cortanze, ‘Frida Kahlo. The Giséle Freund Photographs’, 2015, illustrated on the back of the cover. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

127. Christer Strömholm, ‘Tokyo’, 1963. Signed Christer Strömholm and dated 1979 on the mount. Printed by Bengt–Göran Carlsson in 1979. Gelatin silver print laid down on cardboard, image 28.5 x 20.5 cm. Literature: Jonason, ‘Konsten att vara där’, 1992, illustrated on p.103 (detail). Björklund, ‘Christer Strömholm’, 1995, illustrated. Joakim och Jakob Strömholm, ‘Christer Strömholm 1918–2002, On verra bien’, 2002, illustrated on p. 123 (detail). Anna Tellgren (ed.), ‘Åter till verkligheten’, 2010, illustrated on p. 25. Joakim Strömholm & Patric Leo (red), ‘Post Scriptum Christer Strömholm’, 2012, illustrated on p. 270. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

128. Christer Strömholm, ‘Tonia, Place Blanche, Paris’, 1967. Tony becoming Tonia, series of five images. Signed Christer Strömholm, marked Ploggatan 1 on verso. Gelatin silver print, image 20 x 14.5 and 22 x 16 cm. Sheet 24 x 18 cm and 25.5 x 20.5 cm. Provenance: A gift from the photographer to the current owner. Literature: Christer Strömholm, ‘Vännerna från Place Blanche’, 1983, illustrated on spread. Joakim Strömholm & Patric Leo (ed.), ‘Post Scriptum Christer Strömholm’, 2012, one of the images illustrated on p. 121. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

129. Lennart Olson, ‘Suseån XV’, 1999. Signed Lennart Olson and dated 2000. With dedication. Vintage. Gelatin silver print, image 33.5 x 28 cm. Sheet 40 x 30 cm. Provenance: Directly from the photographer to the family of the current owner Literature: Lennart Olsson and Ulf Hård af Segerstad, ‘From One Side to the Other. Bridges Photographed by Lennart Olson’, 2000, illustrated on fullpage p. 139. (d)

Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

130. Andreas Kock, ‘Stalker II’, 2010. Signed Andreas Kock and numbered 4/15 on label verso. C–print mounted to aluminum and framed, image 118 x 158 cm. Provenance: Link Image Art Edition, Stockholm. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

131. Florian Maier–Aichen, ‘Untitled’, 2004. Signed Florian Maier–Aichen and dated 2004 and numbered 5/6 on a label affixed to the back of the frame. C–print, image 121.9 x 153.7 cm. Provenance: Blum & Poe, Los Angeles. (d)

Estimate: SEK 120 000 – 150 000 / EUR 11 780 – 14 720

132. Liu Bolin, ‘Hiding in the City No. 90 – National Day’, 2010. Signed on certificate issued by Liu Bolin Art Studio. Edition 6/8. C–print, image 118 x 150 cm. Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

133. Nick Brandt, ‘Portrait of Cheetah Against Dark Sky, Masai Mara, 2004’. Signed Nick Brandt and numbered 8/20. Archival pigment print, image 65 x 52 cm. Provenance: Hasted Kraeutler Gallery, New York. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

134. Nick Brandt, ‘Cheetah on Rock, Serengeti, 2001’. Signed Nick Brandt and numbered 8/20. Archival pigment print, image 47 x 67 cm. Provenance: Hasted Kraeutler Gallery, New York. Literature: Nick Brandt, ‘On this Earth, a Shadow Falls’, 2010, illustrated on p. 92. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

135. Terry O’Neill, ‘Elton John, Dodgers Stadium, Howling’, 1975. Signed Terry O’Neill and numbered 7/50. Gelatin silver print, image 30.5 x 45.5 cm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

MARIA FRIBERG Since the 1990s Maria Friberg has been presenting her mysterious, powerful and imaginatively staged images of men, to increasingly larger audiences. They float quietly in pools, are squeezed into cars, sometimes sleep amongst white sheets, or sit in their suits at a table with only their legs visible. Maria Friberg worked on the series Still lives during 2003–2007. In total ten images are included in the series. Some of these depict men, in different positions, resting inside or on top of compressed car wrecks. The car is a classic identifier of the masculine, yet here the air has metaphorically gone out of them, and instead they create a kind of stratification of our own society squeezed tightly together in layers upon layers. The lacquered car parts have a shiny surface reminiscent of silk fabrics. Here Friberg’s painterly side is revealed, a feature that is always present in her work. The monumental size of Still lives #5 gives the piece its powerful materiality and its almost three– dimensional quality. The connection to the American artist John Chamberlain’s (1927–2011) pioneering sculptures is highly noticeable. 137. Maria Friberg, ‘Still lives #5’, 2005. Signed Maria Friberg and numbered 6/6 on verso. Printed in 2013. C–print, laminate, wood 180 x 230 cm. (d) Estimate: SEK 175 000 – 250 000 / EUR 17 180 – 24 540

136. Denise Grünstein, ‘Red Cardinal’, 2015. From the series ‘1866’. Signed Denise Grünstein and numbered 4/12. Total edition 12 + 3 AP. C–print mounted to aluminum and framed, image 44 x 55 cm. Exhibitions: Another example exhibited at: Nationalmuseum/Konstakademien, Stockholm, ‘1866’, 19 February – 3 May 2015. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

137. Maria Friberg, ‘Still lives #5’, 2005. Signed Maria Friberg and numbered 6/6 on verso. Printed in 2013. C–print, laminate, wood 180 x 230 cm. Provenance: Galerie Rüdiger Voss, Düsseldorf. Private Collection, Germany. Literature: Maria Friberg, ‘Maria Friberg’, 2008, illustrated on pl. 21. Maria Friberg, ‘Maria Friberg’, 2015, illustrated on p. 60. (d)

Estimate: SEK 175 000 – 250 000 / EUR 17 180 – 24 540

138. Helene Schmitz, ‘The Chair’, 1996. Signed Helene Schmitz and dated 2019 and numbered 2/3 on label verso. Total edition of 3 + 1 AP. C–print mounted to aluminum and framed, image 173 x 120 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

139. Helena Blomqvist, ‘Woman with dog’, 2005. From the series ‘The Dark Planet’. Signed Helena Blomqvist and numbered 3/5 on verso. Total edition of 5 + 2 AP. C–print mounted to acrylic glass 121 x 99.5 cm. Provenance: Angelika Knäpper Gallery, Stockholm. Literature: Helena Blomqvist, ‘The Dark Planet’, 2006, illustrated. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

140. Astrid Kruse Jensen, ‘Forest (Imaginary Realities)’, 2003. Signed Astrid Kruse Jensen on label verso. Edition 1/5 + 2 AP. Signed certificate included. Analogue C–print, image 94 x 119 cm. Provenance: Wetterling Gallery, Stockholm. Acquired in 2010 by the current owner. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

141. Ewa–Marie Rundquist, ‘Silvia’, 2001. Signed Ewa–Marie Rundquist and numbered 2/3 on label verso. Pigment print, image 94 x 75 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

142. Dawid (Björn Dawidsson), from the series ‘Uppslag’, 2008. Signed Dawid and dated 2008 and numbered 1/3. Pigment print 150 x 181 cm including the artist’s frame. Provenance: Acquired directly from the photographer by the current owner. Exhibitions: Liljevalchs Konsthall, ‘Hybris’, 12 April – 25 May 2008. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

143. Dawid (Björn Dawidsson), ‘Lejonbacken’, 2009. Signed Dawid. Presumably edition 1/5. C–print, image 51 x 76 cm. Provenance: Åmells, Stockholm. (d)

Estimate: SEK 15 000 – 18 000 / EUR 1 480 – 1 770

144. Hans Gedda, ‘Cornelis Vreeswijk’, 1984. Signed Hans Gedda. Gelatin silver print, image 61 x 63 cm. Literature: Karlsson, ‘Det tredje ögat’, 2013, compare image p. 65. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

145. Albert Watson, ‘Kate Moss in Torn Veil, Marrakech, 1993’. Signed Albert Watson and numbered 19/25 on verso. Archival pigment print mounted on aluminum and framed, image 60 x 45 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

146. David LaChapelle, ‘Negative Currency: Ten Dollar Bill’, 1990–2008. Signed on label from David LaChapelle Studio on verso. Edition 1/5. Digital C–print mounted to acrylic glass and framed, image 76 x 178 cm. Provenance: Wolfgang Roth and Partners Fine Art, Miami.

Estimate: SEK 200 000 – 225 000 / EUR 19 630 – 22 080

147. Albert Watson, ‘Charlotte in Prada Blouse, Milan, Italy, 1989’. Signed Albert Watson and numbered 1/10 on verso. Archival pigment print, image 119 x 94 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

148. Terry O’Neill, ‘Faye Dunaway, Hollywood, 1977’. Signed Terry O’Neill and numbered 42/50. C–print, image 91.5 x 91.5 cm. Including frame 128 x 124 cm. Literature: Terry O’Neill, ‘Terry O’Neill: The A–Z of Fame’, 2013, illustrated on p. 104 and fullpage p. 105. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 270 – 14 720

149. Jacob Felländer, ‘The 57th Street Plan’, 2013. Signed Jacob Felländer and numbered 3/5 + 2 AP on verso. Certificate on verso. C–print mounted to glass 80 x 180 cm. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 820 – 11 780

150. Nick Brandt, ‘Elephant Against Sky, Amboseli 2011’. Signed Nick Brandt and numbered 5/12. Archival pigment print, image 101 x 127 cm. Literature: Nick Brandt, ‘Across the Ravaged Land’, 2013, illustrated. (d)

Estimate: SEK 150 000 – 175 000 / EUR 14 720 – 17 180

151. Pieter Hugo, ‘Danielle Lawrence, United Kingdom, 2003’. From the Albino series. Signed Pieter Hugo and numbered 3/3. Archival pigment ink on cotton rag paper, image 100 x 80 cm. Including frame 115 x 94 cm. Provenance: Stevenson Gallery, Cape Town. Paul Frank McCabe, Milan.

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

152. Anders Krisár, ‘Chords No. 14’, 2001–2002. Signed Krisár and numbered 1/6 on verso. Total edition of 6 + 2 AP. C–print mounted on aluminum 112 x 140 cm. Literature: Anders Krisár, ‘Anders Krisár’, 2011, illustrated on p. 75. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

153. Mike & Doug Starn (Starn Twins), ‘ATL Film Still #8’, 2000–2005. Signed Mike Starn and Doug Starn and numbered 5/5 on verso. Lambda digital C–print mounted to aluminum 74.5 x 102 cm. Provenance: Wetterling Gallery, Stockholm. Literature: Doug & Mike Starn, ‘Gravity of Light’, 2012, illustrated p. 98–99.

Estimate: SEK 70 000 – 90 000 / EUR 6 870 – 8 840

ISAAC JULIEN Isaac Julien is one of the most celebrated and influential artists today. He works with film and photography as his principal modes of expression, regularly creating large–scale video installations with multiple parallel screens. Julien often takes intellectual and literary worlds as his starting point, with a focus on the black diaspora. Isaac Julien was born in 1960 in London. In 1989 he had his breakthrough with the film Looking for Langston, about the author Langston Hughes and the Afro–American cultural movement Harlem Renaissance, which emerged in New York’s Harlem during the 1920s and 30s. In 1991 his film Young Soul Rebels won the critics prize at the Cannes Film Festival. In a sense Julian’s success became the starting point for the British postmodern art sensation that was the YBAs (Young British Artists) and whose work came to, in many ways, define the art scene of the 1990s. The diptych Fantôme Créole Series (Papillon No.4 – Mosque) is a still image taken from the video work Fantôme Créole, an installation using four screens. It compares the arctic and the African landscape by showing two films in parallel. One is True North (2004) filmed in Iceland and the other is Fantôme Afrique (2005) recorded in Burkina Faso. True North is inspired by the fate of American Matthew Henson. Henson (1866–1955) was a black polar explorer who together with Robert Peary executed several polar expeditions. They are considered to be the first non–Inuit people to, in 1908, reach the North Pole. Because of his skin colour Henson never received

recognition or respect for his achievements during his own lifetime and was only posthumously honoured by the American state. The dancer Stephen Galloway and the actor Vanessa Myrie each play the central character in the respective films. The piece, without dialogue, attempts to emphasise the similarities between the two continents and the life lived there. People are connected on an intellectual and emotional level no matter where in the world they live. Isaac Julien has been universally praised for his work. He has been awarded several distinctions, including a CBE (The Most Excellent Order of the British Empire) by Queen Elizabeth II in 2017. Julien participated in the 57th Venice Biennale in 2017 and has exhibited in, amongst other places, the Museum of Modern Art in New York, who in 2013 published Riot, an 'intellectual biography' of the artist. A Swedish art audience may have encountered Julien’s work at Moderna Museet’s exhibitions in Malmö and Stockholm during 2015/2016. Furthermore, Moderna Museet in Stockholm has two of his video works in their collections.

156. Isaac Julien, ‘Fantôme Créole Series (Papillon No.4 – Mosque)’, 2005. Diptych. Both parts signed Isaac Julien on label verso. Edition 1/6. Lambda print mounted to aluminum 120 x 120 cm per part. (d) Estimate: SEK 100 000 – 125 000 / EUR 9 820 – 12 270

125. Lennart Olson, ‘Röd signal/Red light, Stockholm’, 1970. Signed Lennart Olson. With dedication dated 2002. Gelatin silver print, image 33 x 25 cm. Sheet 40 x 30 cm. (d) Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

154. Yves Marchand & Romain Meffre, ‘National Theater, Detroit 2007’. Signed Marchand and Meffre on label verso. Printed in 2010. Edition 3/9. Lambda C–print mounted to aluminum, image 95 x 120 cm. Including frame 98.5 x 120 cm. Provenance: Gun Gallery, Stockholm.

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

155. Masayoshi Sukita, ‘Keep Your ‘Lectric Eye,’ 1973. Signed Sukita and numbered 15/30. Pigment print, image 37.5 x 36 cm. Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

156. Isaac Julien, ‘Fantôme Créole Series (Papillon No. 4 – Mosque)’, 2005. Diptych. Both parts signed Isaac Julien on label verso. Edition 1/6. Lambda print mounted to aluminum 120 x 120 cm per part. Provenance: Brändström & Stene, Stockholm. L. Edelstam Konst & Antikviteter, Stockholm. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 820 – 12 270

157. Helmut Newton, ‘SUMO’, 1999. Signed Helmut Newton and numbered 189/200 AP. Total edition of 10.000 + 200 AP. Book published by Taschen, Monte Carlo, 1999, 71 x 51 cm. With a metal table designed by Phillippe Starck. Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

158. Luis Gispert, ‘Knight Rider’, 2008. Signed Luis Gispert and numbered 1/3 on verso. C–print mounted to aluminum 126 x 231.5 cm. Including frame 130 x 235.5 cm. Provenance: Martha Otero, Los Angeles.

Estimate: SEK 100 000 – 150 000 / EUR 9 820 – 14 720

159. Blaise Reutersward, ‘Deutsche Landschaft 1203’, 2012. Signed BLAISE REUTERSWARD and dated 2013 and numbered 1/5 on verso. Total edition of 5 + 2 AP. C–print diasec mounted and framed 185 x 235 cm including frame. Exhibitions: Camera Work, Berlin, ‘Aktstudien und Deutsche Landschaften’, 23 August – 12 October 2013. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 820 – 14 720

160. Cooper & Gorfer, ‘Undressing Vivienne’, 2010. Signed on label verso. Edition 2/6 + 2 AP. Executed in 2010. Archival pigment print mounted on dibond and framed 110 x 84 cm. Provenance: Christian Larsen, Stockholm.

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

161. Anders Krisár, ‘Flesh Cloud #3’, 2003. Signed Krisár and numbered AP 1/2 on verso. Total edition of 6 + 2 AP. C–print mounted to glass 54 x 60 cm. Literature: Anders Krisár, ‘Anders Krisár’, 2011, compare image p. 105. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

162. Nathalia Edenmont, ‘Black Night’, 2008–2010. Signed N Edenmont and numbered 2/6 on verso. C–print mounted to glass and framed, image 129 x 160 cm. Provenance: Wetterling Gallery, Stockholm. Literature: Nathalia Edenmont, ‘Eternal’, 2011, illustrated on fullpage p. 25. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 820 – 12 270

163. Natalia Mikkola, ‘South Africa’, 2015. Signed Natalia Mikkola and numbered 2/5 AP on verso. C–print mounted on acrylic glass 110 x 165 cm. Provenance: Acquired directly from the artist by the current owner. Exhibitions: ‘No. 18’, Stockholm.

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

164. Helena Blomqvist, ‘Last Night for the Last Golden Frog’, 2008. From the series ‘The Last Golden Frog’. Signed Helena Blomqvist and numbered 6/6 on label verso. Pigment print, image 86 x 109 cm. Provenance: Angelika Knäpper Gallery, Stockholm. Exhibitions: Another example exhibited at: Fotografiska, Stockholm, ‘Stories from Another World’, 20 April – 3 June 2012. Literature: Helena Blomqvist, ‘Helena Blomqvist’, 2012, illustrated on fullpage. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

165. Yves Marchand & Romain Meffre, ‘Melted Clock, Cass Technical High School, Detroit’, 2008. Signed Marchand and Meffre on label verso. Printed in 2010. Edition 1/9 + 2 AP. Lambda C–print, image 95 x 120 cm. Including frame 98.5 x 124 cm. Provenance: Gun Gallery, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

196. Dawid (Björn Dawidsson), ‘B016’ from the series Merit, 2006. Signed Dawid. Edition 1/5. Inkjet print 98 x 82 cm including the original artist’s frame. (d) Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

DAWID Dawid has always been somewhat of an eccentric amongst Swedish photographers. His photographic work is imbued with an overt and palpable artistic drive. It is not only his images that are important, a similar level of attention has been given to their entire presentation, in everything from the frames to the catalogues. With the 1973 exhibition Ingen älskar mig at Liljevalchs Konsthall in Stockholm, Dawid declared that photography was, as an artistic medium, equivalent to painting. He belongs to the group of artists who early on began experimenting with large format negatives. The exhibition Rost at Fotografiska Museet in 1983, then part of Moderna Museet in Stockholm, shook the Swedish photographic scene and became his major breakthrough. The exhibition garnered a lot of attention as it consisted of about thirty images of pieces of scrap metal and other ordinary iron objects placed in figurative patterns on white grounds. The photographs were presented in custom–made red lacquer frames – matched in colour with the exhibition catalogue and its graphic design. Dawid soon became an integral part of the group of artists that came to shape the young Swedish art scene of the 1980s. The breadth of the photographic medium inspires him and enables his many projects. His differing motifs are always linked together through his stark and minimalistic imagery, through their starting point in everyday

details, and in the design of the frames. Included amongst his photographic series is Arbetsnamn skulptur (1982–1988), where Dawid produced simple still lifes of perfectly lit everyday objects. This series has been shown at, for example, Thielska galleriet in Stockholm and at Pace/MacGill Gallery in New York, and has also been turned into Swedish stamps. Other projects represented in our spring auction include MERIT (2005–2006), where images of enlarged candies oscillate between the abstract and the figurative, as well as Blueprints (2009–2013) and the series Uppslag (2008). In 2004 Dawid was awarded the Swedish Arts Grants Committee’s ‘Stora Stipendiet’ for his artistic work and contemporary significance.

167. Dawid (Björn Dawidsson), ‘K1D9698’ from the series Blueprints, 2009. Signed Dawid and numbered AP and dated 2009. Vintage. Unique in this size. Archival pigment print 133 x 161 cm including the artist’s original frame. (d) Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910 195. Dawid (Björn Dawidsson), ‘946’ from the series Arbetsnamn skulptur, 1982. Signed Dawid and numbered AP and dated 1987 on verso. Vintage. Gelatin silver print, image 19.4 x 24.5 cm. including the original artist’s frame 50 x 55 cm. (d) Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

166. Torbjörn Calvero, ‘Confetti, Mick Jagger, Bremen, May 1976’. Stamped by the Calvero Estate on verso. Printed later. Edition 3/9 + 2 AP. C–print 131 x 195 cm Literature: Torbjörn Calvero and Christer Olsson, ‘Från Abba till Zeppelin. Calveros 70–tal’, illustrated. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 910 – 5 890

167. Dawid (Björn Dawidsson), ‘K1D9698’ from the series Blueprints, 2009. Signed Dawid and numbered AP and dated 2009. Vintage. Unique in this size. Archival pigment print 133 x 161 cm including the artist’s original frame. Provenance: Private Collection, Stockholm. Literature: Dawid and Steven Henry Madoff, ‘Dawid – This is a photograph’, 2015, compare image p. 363. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

168. Masayoshi Sukita, ‘Bowie V-2’. Signed Sukita and numbered 15/30. Pigment print, image 41 x 35 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

169. Mikael Jansson, ‘Helena, Havana, Cuba’, 1993. Signed Mikael Jansson and dated 1995 on verso. Vintage. Gelatin silver print, image 45 x 35.5 cm. Provenance: Acquired directly from the photographer by the current owner. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

170. Martin Bogren, ‘Lowlands #07’, 2008. Signed Martin Bogren and numbered 1/3 on the back of the frame. Pigment print, image 74 x 107 cm. Provenance: Acquired directly from the artist. Tom Böttiger Collection, Stockholm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

171. Hans Gedda, ‘Andy Warhol’, 1976. Signed Hans Gedda. Dedication dated 25. IX. 87. Gelatin silver print, image 29.5 x 29 cm. Sheet 48 x 38.5 cm. Provenance: Directly from the photographer by the current owner. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

172. Elina Brotherus, ‘Salle de bain au mimosa’, 2004. Signed Elina Brotherus and dated 2004 and numbered 2/6 on verso. C–print, image 80 x 102 cm. Provenance: Galleri Andersson/Sandström, Stockholm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

173. Esko Männikkö, ‘Savukoski’, 1994. Signed Esko Männikkö and dated 1994 and numbered 2/20 on verso. C–print mounted to kapa board and framed, 58 x 69 cm including the artist’s frame. Literature: Birgitte Kölle (ed.), ‘Esko Männikkö’, 1996, illustrated on fullpage p. 57. Koskinen and Tuukkanen (ed.), ‘Time Flies’, 2013, illustrated on fullpage p. 104. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

174. Elina Brotherus, ‘I hate sex’, 1998. Signed Elina Brotherus and dated 1998 and numbered 5/5 on verso. C–print, image 80 x 110 cm. Provenance: Galleri Andersson/Sandström, Stockholm. Exhibitions: Hämeenlinnan Taidemuseo, Finland, ‘Elina Brotherus’, 15 June – 25 May 2002. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

175. Lennart Nilsson, ‘Självporträtt’, 1941. Signed Lennart Nilsson on verso. Edition 2/18. Printed in 2015. Selenium toned gelatin silver print, image 25 x 24 cm. Provenance: Galleri Kontrast, Stockholm. Tom Böttiger Collection, Stockholm. Literature: Jacob Forsell (ed.), ‘Lennart Nilson – hans livs bilder’, 2002, illustrated. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

176. Lennart Nilsson, ‘Självporträtt’, 1940s. Signed Lennart Nilsson on verso. Edition 2/18. Printed in 2015. Selenium toned gelatin silver print, image 25 x 24 cm. Provenance: Galleri Kontrast, Stockholm. Tom Böttiger Collection, Stockholm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

177. Lennart Nilsson, ‘Rymdfararen’, 1965. From ‘Ett barn blir till’. Signed Lennart Nilsson. Cibachrome, image 43 x 57.5 cm. Literature: Lennart Nilsson and Lars Hamberger, ‘Ett barn blir till’, 1995, illustrated on fullpage p. 106. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

DAN WOLGERS Dan Wolgers has an amazing ability to read the signs of the times in which he lives. Practically all of his work and his ideas have become icons of a particular era. For a few years at the beginning of the 1990s Wolgers was easy prey to his critics and the highly opinionated public. Wolgers’ first great art scandal came in 1991 with his trailblazing exhibition at Galleri Lars Bohman, where he gave an ad agency free reins to create a show in his name. The following year he was at it again. Wolgers had been given the

opportunity to design the front cover of the yellow pages for the Stockholm region. When it was released Wolgers had printed his own name and phone number on the cover. Today one of these catalogues is in the collections of MoMa in New York. Här slutar allmän väg (End of Public Road), a series of photographs executed between 1995 and 1998 and depicting the classic blue and white

sign of the Swedish Road Administration agency, became Wolgers’ own personal stop sign. The message couldn’t be any clearer as the images were first presented in Wolgers’ 1995 exhibition at Galleri Lars Bohman. Wolgers has recounted how; “ – We never thought they would sell. They weren’t what you would call traditional artworks or photography – they hadn’t been lit or edited afterwards. But we sold it all. For example to the Public Art Agency Sweden”.

The series consisted of five different compositions, all with the blue and white road sign at their centre. What differentiated them was the surrounding nature, as they were all photographed at different places (mostly roads around the southern part of Stockholm). The images are today highly sought after by both collectors and institutions. They are included in, amongst others, Moderna Museet’s collections – who own the entire series.

178. Jacob Felländer, ‘Building to Implode’, 2013. From the series ‘Pentimento’. Signed Jacob Felländer on verso. Unique. Charcoal, pastel and paint on Archival Pigment Print, sheet 120 x 120 cm. Provenance: Hamiltons Gallery, London. Exhibitions: Camera Work, Berlin. Hamiltons Gallery, London, ‘Pentimento’, 21 September – 1 November 2013. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

179. Maria Friberg, ‘Almost there #4’, 2000. Signed Maria Friberg and numbered AP 2/2 on verso. A total edition of 6 + 2 AP. Cibachrome, silicone, glass 150 x 120 cm. Provenance: Acquired directly from the artist. Bukowski Auktioner, Contemporary Art & Design Sale, 12 November 2014, Cat. No. 216. Literature: Maria Friberg, ‘Maria Friberg’, 2005, compare picture pl. 11. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

180. Dan Wolgers, ‘Här slutar allmän väg V’, 1995. Signed Dan Wolgers and numbered AP 1/1 on verso. total edition of 3 + 1 AP. Cibachrome mounted to foam board and framed with acrylic glass 121 x 231 cm including frame. Depth 8 cm. Provenance: Galleri Lars Bohman, Stockholm. Tom Böttiger Collection, Stockholm. Literature: Dan Wolgers e.a, ‘Dan Wolgers verksamhet 1977–2001’, Liljevalchs Konsthall, 2001, exhibition catalogue, illustrated. (d)

Estimate: SEK 500 000 – 600 000 / EUR 49 070 – 58 890

181. Lars Tunbjörk, ‘Software Company, New York’, 1997. Signed Lars Tunbjörk and numbered 1/12 on verso. C–print, image 46.5 x 57.5 cm. Provenance: Galerie Nordenhake, Stockholm. Bukowskis, Stockholm, Contemporary & Design, 18 May 2011, lot 239. Tom Böttiger Collection, Stockholm. Literature: Lars Tunbjörk, ‘Office/Kontor/Ofisu’, 2002, illustrated on cover. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

182. Anneè Olofsson, ‘Nightfall’, 2010. Signed Anneé Olofsson and numbered 2/25 on label verso. Pigment print mounted to aluminum and framed, image 66 x 90 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

183. Per–Anders Pettersson, ‘Johannesburg Fashion Week’, 2015. Signed Per–Anders Pettersson and dated 2017 and numbered 5/7 on label verso. Archival pigment print mounted on glass 90 x 60 cm. Provenance: Galleri Kontrast, Stockholm. Tom Böttiger Collection, Stockholm. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 970

184. Ann Eringstam, ‘In search of Wonderland #9’, 2011. Signed Ann Eringstam and numbered 2/5 on label verso. Lambda print mounted to glass 100 x 150 cm. Literature: Ann Eringstam, ‘In Search of Wonderland & Out of the Fog’, 2016, illustrated on fullpage. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

185. Mikael Jansson, ‘Mini Andén’, 1996. Signed Mikael Jansson and numbered 4/6 on verso. Printed in 2006. Total edition of 6 + 1 AP. Gelatin silver print mounted on aluminum and framed, image 56 x 45 cm. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

186. David LaChapelle, ‘Negative Currency, 1 Yuan used as Negative’, 2010. Signed David LaChapelle and numbered 5/5 on label verso. Chromogenic print mounted to acrylic glass and framed, image 71 x 153 cm. Provenance: Wolfgang Roth and Partners Fine Art, Miami.

Estimate: SEK 200 000 – 225 000 / EUR 19 630 – 22 080

187. Martin Schoeller, ‘Jeff Koons with Floral Headpiece, New York, 2013’. Signed and dated 2014 on label verso. Edition 1/5. Archival pigment print mounted to aluminum and framed, image 92 x 73 cm. Including frame 102 x 91 cm. Provenance: Hasted–Kraeutler, New York. (d)

Estimate: SEK 120 000 – 150 000 / EUR 11 780 – 14 720

188. Mike & Doug Starn (Starn Twins), ‘Ganjin’, 2000. Signed Mike and Doug Starn on label verso. Edition 9/10. Toned silver print on Thai mulberry paper 60 x 60 cm. Provenance: Wetterling Gallery, Stockholm, 2009.

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

189. Peter Beard, ‘Lion Pride’, 1976. Signed Peter Beard and dated 1976 in Nairobi. Unique. Polaroid, ink, blood, image 10,5 x 15 cm. Including frame 23.7 x 27.3 cm. Provenance: Private Collection, Sweden. Acquired directly from the artist.

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

190. Nick Brandt, ‘Zebra River Crossing, Masai Mara, 2006’. Signed Nick Brandt and numbered 15/25. Archival pigment print, image 35 x 79 cm. Provenance: Hasted Kraeutler Gallery, New York. Literature: Nick Brandt, ‘On this Earth, a Shadow Falls’, 2010, illustrated on spread p. 92–93. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

191. Denise Grünstein, ‘Figur i landskap 6’, 2001. Signed Denise Grünstein and dated 2001. Edition 2/3 + 1 AP. C–print mounted to a convex aluminum board 103 x 250 cm. Depth 6–25 cm. Provenance: Galleri Mårtenson & Persson, Båstad. Literature: Leif Wigh (ed.), ‘Denise Grünstein – Figur i landskap’, 2001, exhibition catalogue, illustrated. Denise Grünstein, ‘Figure Out’, 2010, illustrated on spread p. 20–21. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

192. Tuija Lindström, ‘Estella’, 1983. Unique. Gelatin silver print mounted between two acrylic plates 50 x 40 cm. Exhibitions: Hasselblad Center, Göteborg, ‘Lika med’, 16 November 2011 – 15 January 2012. Literature: Tuija Lindström and Johan Ehrenberg, ‘Tuija Lindström’, 1989, illustrated on fullpage. Lollo Fogelström and Niclas Östlind, ‘Tuija Lindström – Look At Us 5 juni –22 augusti 2004’, 2004, Liljevalchs Konsthall cat no 456, illustrated as image no 7.(…) (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 970 – 2 950

193. Martin Bogren, ‘Ocean #17’, 2007. Signed Martin Bogren and numbered 1/3 on label verso. Pigment print, image 80 x 199 cm. Provenance: Acquired directly from the artist. Tom Böttiger Collection, Stockholm. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 950 – 3 440

194. Dawid (Björn Dawidsson), ‘Dots’, 1992. Signed on verso. Printed in 1998. Baryte gelatin silver print 71.5 x 61.5 cm including the original artist’s frame. Provenance: Private Collection, Stockholm. Exhibitions: Galerie 213, Paris. Literature: Dawid and Steven Henry Madoff, ‘Dawid – This is a photograph’, 2015, compare image p. 250. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

195. Dawid (Björn Dawidsson), ‘946’ from the series Arbetsnamn skulptur, 1982. Signed Dawid and numbered AP and dated 1987 on verso. Vintage. Gelatin silver print, image 19.4 x 24.5 cm. including the original artist’s frame 50 x 55 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

196. Dawid (Björn Dawidsson), ‘B016’ from the series Merit, 2006. Signed Dawid. Edition 1/5. Inkjet print 98 x 82 cm including the original artist’s frame. Provenance: Private Collection, Stockholm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

197. Jean Hermanson, ‘Stämpelklocka, Motala Verkstad’, 1969. Signed Jean Hermanson and copyright stamp on verso. Gelatin silver print, image 24 x 16 cm. Sheet 30 x 22.5 cm. Literature: Folke Isaksson and Jean Hermanson, ‘Nere på verkstadsgolvet’, 1971, illustrated. Jean Hermanson e.a, ‘Fotografier’, 2005, illustrated on fullpage p. 53. Nils Petter Löfstedt, ‘Himlens Mörkrum’, 2017, illustrated p. 79. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

198. Jean Hermanson, ‘Åminne bruk. Renseriet. Gjuteriet’, 1969. Signed Jean Hermansson on verso. Printed in the 70s. Gelatin silver print, image 20 x 28.5 cm. Sheet 24.5 x 30 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

199. Gisèle Freund, ‘Giacometti’, 1964. Signed Gisèle Freund and with copyright stamp on verso. Gelatin silver print, image 27 x 26,5 cm. Sheet 30,5 x 30 cm. Provenance: Directly from the photographer by the current owner. Literature: Hans Joachim Neyer, ‘Gisele Freund’, 1988, illustrated on p. 32. Gisèle Freund, ‘Mémoires de l’Oeil’, 1977, illustrated on p. 180. Gisèle Freund, ‘Itinéraires’, 1991, illustrated on p. 110. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

200. Tuija Lindström, Untitled (Pia), 1982. Signed Tuija Lindström and copyright stamp on verso. Gelatin silver print, image 19.5 x 19 cm. Sheet 30 x 24 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

201. Tuija Lindström, Untitled, early 1980s. Signed Tuija Lindström and copyright stamp on verso. Gelatin silver print, image 19 x 19.5 cm. Sheet 30 x 23.5 cm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

202. Tuija Lindström, Untitled, early 1980s. Signed Tuija Lindström and copyright stamp on verso. Gelatin silver print, image 18.5 x 18.5 cm. Sheet 29 x 23 cm. Literature: Tuija Lindström and Johan Ehrenberg, ‘Tuija Lindström’, 1989, illustrated on fullpage. (d)

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

203. Kenneth Gustavsson, Untitled, 1980s. Signed Kenneth Gustavsson and marked 3361–505 on verso. Gelatin silver print, image 24.5 x 32.5 cm. Sheet 30.5 x 40.5 cm. Exhibitions: Another example exhibited at: Fotografiska, Stockholm, ‘Kenneth Gustavsson. The Magic Bar’, 5 October – 18 November 2012. Konsthallen i Hishult, ‘Kenneth Gustavsson. The Magic Bar’, 9 March – 22 April 2019. Literature: Thomas Wågström (ed.), ‘The Magic Bar. Kenneth Gustavsson’, 2012, illustrated on fullpage p. 77. (d)

Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

204. Kenneth Gustavsson, Untitled, 1980s. Signed Kenneth Gustavsson and marked 3361–505 on verso. Gelatin silver print, image 24.5 x 32.5 cm. Sheet 30.5 x 40.5 cm. Literature: Thomas Wågström (ed.), ‘The Magic Bar. Kenneth Gustavsson’, 2012, illustrated on fullpage p. 92. (d)

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

205. Jens S Jensen, ‘Pojken på muren’, 1973. Stamped by The Estate of Jens S. Jensen and numbered 2/22 + 2 AP on verso. Gelatin silver print, image 29.5 x 42 cm. Sheet 39 x 49.5 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

206. Andreas Johansson, Untitled, 2008. Signed Andreas Johansson on label verso. Executed in 2008. Unique. Photographic collage, 127 x 194 cm. Including frame 133 x 202 cm. Provenance: Galleri Bendixen, Copenhagen. Exhibitions: Lunds Konsthall, ‘Vilande mängd’, 28 November 2020 – 21 February 2021. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

207. Brassaï, Untitled (self portrait), ca 1955. Signed Brassaï and marked No. 60 B+Y on verso. Also with copyright stamp on verso. Gelatin silver print, 16 x 23 cm. (d)

Estimate: SEK 6 000 – 8 000 / EUR 590 – 790

209. Vik Muniz, ‘Aftermath (Emerson) – from the project Children of Brazil’, 1998. Edition of 10 + 5 AP. C–print laid down on board and framed, image 158 x 127 cm. (d) Estimate: SEK 125 000 – 150 000 / EUR 12 270 – 14 720

VIK MUNIZ Brazilian artist Vik Muniz makes art by recreating well–known works from art history. In order to construct his artworks he uses everyday materials like peanut butter, chocolate sauce, sequins, sugar, colour pigment, tomato sauce, and general rubbish. His extremely time–consuming and detailed work is then finally immortalised with a camera and turned into beautiful photographs – often on a grand scale. Muniz’s images play with our sense of perception and he calls them “photographic delusions”. What might at first appear to the viewer like reproductions of already existing artworks turn out to be, on closer inspection, innovative interpretations of pieces from our collective image bank. The photographs in the series Aftermath depict Brazilian street children. Muniz has for some time been involved in their situation and was therefore given the opportunity to collaborate with a few of them. He invited a number of the children, between the ages of 6 and 10, to explore art history in order to find works that they could identify with in some way. Muniz then took a black and white Polaroid of the children as they replicated the poses

of the main characters in their chosen paintings. To build the imagery in Aftermath Muniz collected detritus left on the streets of Rio de Janeiro after the carnival. The rubbish (confetti, bottle caps, cigarette butts etc.) was then placed on a light box and employing a method of removal – for example by using a vacuum cleaner – portraits of the children, based on the photographic originals, began to appear. Muniz’s prominence as an internationally recognised photographer began when a few of his photographs from the project Sugar Children were chosen by MoMA to be part of the 1997 exhibition New Photography. In 2019 Muniz had a retrospective at the Chrysler Museum of Art in Atlanta, showing more than 100 photographs. For the last twenty years he has had several big exhibitions every year, all around the globe. His work is represented in some of the most prestigious art collections in the world. Muniz is as well–liked as he is famous in his home country of Brazil. He has initiated and donated money to a string of social projects, primarily in Rio de Janeiro, that offer education and work training for the city’s poorest and most vulnerable children.

208. Nick Brandt, ‘Leopard in Crook of Tree, Nakuru, 2007’. Signed Nick Brandt and numbered 10/25. Archival pigment print, image 52 x 52 cm. Provenance: Hasted Kraeutler Gallery, New York. Literature: Nick Brandt, ‘On this Earth, a Shadow Falls’, 2010, illustrated on p. 113. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

209. Vik Muniz, ‘Aftermath (Emerson) – from the project Children of Brazil’, 1998. Edition of 10 + 5 AP. C–print laid down on board and framed, image 158 x 127 cm. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 270 – 14 720

210. Cindy Sherman, ‘Untitled (In honor of Mark Morrisroe)’, 1980. Signed Cindy Sherman and dated 2000 and numbered 70/75 on verso. C–print, image 27.5 x 38 cm. Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

211. Jack Pierson, ‘Stock Variation’, 1999. Signed Jack Pierson and numbered 3/10 on verso. C–print 76 x 76 cm. Provenance: Galleri Roger Björkholmen, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

212. Richard Prince, Untitled (from Cowboys & Girlfriends), 1992. Signed RP and numbered O/Z on verso. Ektacolor print, image 38.5 x 58.5 cm. Sheet 50.5 x 60.5 cm. Provenance: Galleri Skarstedt, Stockholm. Private Collection, Stockholm.

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

213. Irving Penn, ‘The Angel’, 1946. Signed Irving Penn and dated May 1979 and numbered 3/52 on verso. Stamped ‘Hand coated by the photographer’ and ‘Photograph by Irving Penn, Copyright 1946 by The Condé Nast Publications Inc.’ on verso. Platinum Palladium mounted to aluminum, image 24.5 x 19.5 cm. Sheet 59.5 x 31 cm. Provenance: Camera Obscura, Stockholm. Acquired in 1980 by the current owner. Literature: Nicholas Callaway, ‘Passage, a work record’, 1991, illustrated on fullpage. Sarah Greenough, ‘Irving Penn. Platinum Prints’, 2005, illustrated on fullpage pl. 2.

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

214. Peter Beard, ‘Fayel Tall on Lake Rudolf at Loingalani, February 1987’. Signed Peter Beard and dated Hog Ranch by Kivoi 24–5–1997. Writings by Peter Beard and illustrations by Zara Beard in ink. Polaroid 15 x 10.5 cm. Original wooden frame executed in Montauk 26 x 22 cm. Provenance: Directly from the artist. Private Collection, Finland. Acquired in 1999.

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

215. Chi Peng, ‘Three Fights Against the White Bones Demon II’, 2007. Edition 1/10. C–print mounted to aluminum 120 x 159 cm. Provenance: Alexander Ochs Galleries, Berlin/Beijing. Galleri Gunnar Olsson, Stockholm.

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

216. Albert Watson, ‘Naomi Campbell, Palm Springs, 1989’. Signed Albert Watson and numbered 23/25 on label verso. Gelatin silver print, image 60 x 47.5 cm. Literature: James Crump, ‘Albert Watson’, 2007, illustrated on fullpage. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

217. Louis Stettner, ‘Paris, Notre Dame’, 1991. Signed Louis Stettner and numbered 2/8. Also with embossed signature. Gelatin silver print, image 31 x 24.5 cm. Sheet 39.3 x 30 cm. Estimate: SEK 7 000 – 9 000 / EUR 690 – 890

218. Gisèle Freund, ‘Marché à la Ferraille, Paris, 1958’. Signed Gisèle Freund and with copyright stamp on verso. Gelatin silver print, image 30 x 20 cm. Sheet 40 x 30 cm. Provenance: Directly from the photographer to the current owner. Literature: Gisèle Freund, ‘Itinéraires’, 1991, illustrated on p. 36. (d)

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

219. Gisèle Freund, ‘Pantouflour, Paris, 1935’. Signed Gisèle Freund and with copyright stamp on verso. Gelatin silver print, image 30.5 x 20.5 cm. Sheet 34 x 24 cm. Provenance: Directly from the photographer by the current owner. Literature: Gisèle Freund, ‘Mémoires de l’Oeil’, 1977, illustrated on p. 36. Gisele Freund, ‘Memoiren des Auges’, 1977, illustrated on p. 36. (d)

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

220. Örjan Kristenson, ‘Poughkeepsie’, 1987. Signed Örjan Kristenson and numbered II/IX on verso. Printed later. Pigment print, image 40.5 x 50 cm. Sheet 60 x 60.5 cm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

221. Örjan Kristenson, ‘Borrby’, 2011. Signed Örjan Kristenson on verso. Printed later. Pigment print, image 50 x 49.5 cm. Sheet 60 x 60.5 cm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

222. Örjan Kristenson, ‘Landskrona’, 2019. Signed Örjan Kristenson and numbered II/IX on verso. Printed later. Pigment print, image 50 x 50 cm. Sheet 60 x 60.5 cm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

223. Tuija Lindström, ‘Maria in an Arch’ , 1991. From the series ‘The Girls at Bull’s Pond’. Signed Tuija Lindström and numbered 6/6 on verso. Printed in 2011. Gelatin silver print, image 58 x 58 cm. Including original iron frame 62 x 62 cm. Literature: Niclas Östlind, ‘Mellan verkligheter. Fotografi i Sverige 1970–2000’, 2014, illustrated on fullpage p. 265. Lollo Fogelström and Niclas Östlind, ‘Tuija Lindström – Look At Us’, Liljevalchs Konsthall cat no 456, 2004, illustrated pl. 73. Tuija Lindström, ‘The Girls at Bull's Pond’, 1989, illustrated on a separate plate in the portfolio. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

224. Tuija Lindström, ‘Untitled’, 1986. Signed Tuija Lindström and with copyright stamp on verso. Gelatin silver print, image 15 x 15 cm. Sheet 28.5 x 23 cm. Literature: Tuija Lindström and Johan Ehrenberg, ‘Tuija Lindström’, 1989, illustrated on fullpage. Dragana Vujanovic (ed.), ‘Tuija Lindström – A Dream If Ever There Was One’, 2012, illustrated on fullpage. (d)

Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

225. Hans Hammarskiöld, ‘Morgondagg’, 1952. Signed Hans Hammarskiöld and numbered 12/100 on verso. Printed in the 70s. Gelatin silver print, image 48 x 38.5 cm. Sheet 49 x 39.3 cm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

226. Hans Hammarskiöld, ‘Battersea Bridge, London’, 1955. Signed Hans Hammarskiöld and numbered 55/100 on verso. Gelatin silver print, image 48 x 40.5 cm. Sheet 50.3 x 40.5 cm. Provenance: Private Collection, Stockholm. Acquired directly from the photographer. Literature: Kurt Mälarstedt, ‘Foto Hammarskiöld – Tiden och ljuset’, 2008, illustrated on fullpage p. 56. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

227. Hans Hammarskiöld, ‘East End, London’, 1955/56. Signed Hans Hammarskiöld and with several copyright stamps by Tiofoto on verso. Printed in 1958. Vintage. Gelatin silver print 24 x 30.5 cm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

228. Per Maning, ‘Leo’, 1993. Signed Per Maning and dated Stockholm 1993 on verso. Gelatin silver print, image 43 x 42.5 cm. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 970 – 2 950

229. Henry B. Goodwin, ‘Vårt vackra Stockholm’, 1920. Published in 1920 to benefit the Daniel Fallström Foundation. Numbered 198/200. Published by Bröderna Lagerström Boktryckare. Half–binding in calf leather and linnen. One etching by Carl Larsson signed by Karin Larsson and 39 photo gravures. Illustrations by Ernst Hällgren, Olle Hjortzberg, Louis Sparre, Robert Haglund, Ferdinand Boberg, Axel Herman Hägg, Knut Lindeberg and Aron Gerle. 33 x 25 cm. Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

230. Edouard Boubat, ‘Paris, 1952’. Signed E. Boubat. Also signed on verso. Gelatin silver print, image 37 x 24.5 cm. Sheet 40 x 30 cm. (d)

Estimate: SEK 7 000 – 9 000 / EUR 690 – 890

231. Louis Stettner, ‘Rond Point des Champs Elysées’, 1951. Signed Louis Stettner and numbered 2/8. Also signed on verso and with embossed signature. Gelatin silver print, image 28 x 27 cm. Sheet 39.3 x 30 cm. Estimate: SEK 7 000 – 9 000 / EUR 690 – 890

232. Jan Svenungsson, ‘Språk’, 1990. Signed Svenungsson and dated 1990 on verso. Unique. Photographic object 160 x 18 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

233. Jorma Puranen, from the series ‘Shadows, reflections and all that sort of things’, 1991–2004. Edition of 6. C–print mounted to diasec and acrylic glass 125 x 96 cm. Provenance: Galleri Flach, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

234. Monika Larsen Dennis, ‘Hands (7)’, 2002. Signed Monika Larsen Dennis. Edition 3/6. Signed exhibition catalogue included. Lambda print mounted to dibond 25 x 208 cm. Provenance: Sveriges Allmänna Konstförening, vinst nr 2, 2006. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

235. Bruno Ehrs, ‘Carl XVI Gustaf, Skeppsholmen, May 2002’. Signed Bruno Ehrs and numbered 39/50. Printed later. Pigment print, image 81 x 64 cm. Sheet 111 x 91 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

236. Leif–Erik Nygårds, ‘Marilyn Monroe photographed in Los Angeles at Bel Air Hotel, June 27th 1962’. Signed Leif–Erik Nygårds and numbered 22/32 on verso. Inkjet print, image 48.5 x 74 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

237. Torbjörn Calvero, ‘Led Zeppelin, Earl's Court, London 23 May 1975’. Signed Calvero and dated 2011 and numbered 1/3. Pigment print, Image 90 x 62 cm. Provenance: Acquired directly from the artist by the current owner. Literature: Torbjörn Calvero and Christer Olsson, ‘Från Abba till Zeppelin. Calveros 70–tal’, illustrated. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

237 A. Hasse Persson, ‘Studio 54’, 1979. Signed Hasse Persson and numbered 12/12. Gelatinsilverfotografi, image 66 x 100 cm. Exhibitions: Another example exhibited at: House of Sweden, Washington, ‘Studio 54. Forever.’, 2018. National Nordic museum, Seattle, ‘Studio 54 and Beyond’, 2019. Brooklyn Museum, New York, ‘Night Magic’, 2020. Gallery of Ontario, Toronto, ‘Night Magic’, 2021. Literature Hasse Persson, ‘Studio 54’, 2014, illustrated on the cover. (d)

Estimate: SEK 60 000 – 80 000 / EUR 2 950 – 3 930

238. Vanessa Beecroft, ‘Untitled’. Edition 1/3. C–print, image 64 x 80 cm. Sheet 100 x 100 cm. Provenance: Galleri Axel Mörner, Stockholm. Stockholms Auktionsverk, Nutida, May 2015, lot 1160. Exhibitions: TRE/Galleri Axel Mörner, Stockholm, ‘Vanessa Beecroft – Perfect Day’, May 1996. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

Lot no 239 Withdrawn.

240. Britta Marakatt–Labba, ‘Vi skrev ett brev I’. Signed Britta Marakatt–Labba and dated 1995. Embroidery 20 x 25 cm. Provenance: Spectra, Umeå. Private Collection, Stockholm. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

241. Lena Cronqvist, Untitled. Signed Lena Cronqvist and dated 1995. Canvas 60 x 57 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

242. Peter Frie, Untitled. Signed Frie. Panel 14.5 x 10.5 cm. Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

243. Dan Wolgers, ‘Ljusets hastighet’. Signed DW and numbered AP 1/10. Total edition 100 + 10 AP. Bronze height 12 cm, length 22 cm. (d)

Estimate: SEK 15 000 – 18 000 / EUR 1 480 – 1 770

244. Sara–Vide Ericson, ‘Rida 1’. Signed S–V.E and dated –09 on verso. Oil on canvas 150 x 140 cm. Provenance: Galleri Magnus Karlsson, Stockholm. Private Collection, Sweden. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

245. Linn Fernström, ‘Gåvogivare’. Signed Linn Fernström and dated 2005 on verso. Paper 76 x 57 cm Provenance: Private Collection, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

246. Markus Åkesson, ‘Let me sleep through the night (Somnium)’. Signed Markus Åkesson on verso. Executed in 2017. Oil on canvas 200 x 120 cm. Provenance: Galerie Da–End, Paris. Acquired from the above in 2018. Exhibitions: Galerie Da–End, Paris, ‘Let me sleep through the night’, 13 January – 24 February 2018. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 270 – 14 720

247. Ola Billgren, Untitled.

248. Lotta Hannerz, ‘Envers’.

Signed Ola Billgren and dated –81. Mixed media on paper 60 x 81 cm.

Signed Lotta Hannerz and dated 2010 on verso. Mixed media, wood, papier maché, sponge, acrylic glass on panel. Height 97 cm, width 70 cm, depth 13 cm.

(d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

249. Marie–Louise Ekman, ‘Dagi 1956 och en Gunnar Björling–dikt I–VI’. Signed M.L De Geer Bergenstråhle and dated 1988 on verso. Six parts. Gouache on cardboard, 6.5 x 9 cm per part including artist’s frame. Provenance: Private Collection, Stockholm. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 970 – 2 950

250. Peter Frie, ‘Eliopainting #17’. Executed in 2009. Oil and wax on panel 15 x 10.8 cm. Provenance: Galerie Forsblom, Helsinki. Private Collection, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

251. Anders Widoff, ‘J.T. Grammatik. 6’. Signed A. Widoff and dated 94 on verso. Oil on canvas 46 x 35 cm. Provenance: Galleri Charlotte Lund, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

ANDREAS ERIKSSON Andreas Eriksson has had an exceptional career ever since he was accepted at the Royal Institute of Art in Stockholm at only eighteen years old. His big breakthrough came when he represented Sweden at the 2011 Venice Biennale. Today Andreas Eriksson is represented by some of the leading galleries in the world – Stephen Friedman Gallery in London and neugerrimschneider in Berlin. Nature and specifically trees are central to his work, and his practice is often referred to in terms of a northern European painting tradition. When Eriksson suddenly became afflicted with ‘electromagnetic hypersensitivity’ at the beginning of the 2000s he felt forced to leave his life in the vibrant art capital Berlin, where up until then he had been living and working. He instead chose to live in relative isolation in an electromagnetically screened house by Kinnekulle in the Västergötland province of Sweden. The cacophony of the city was exchanged for quiet walks in nature. This contrast is a clear presence in Eriksson’s images and through his artistic practice he explores the duality of contemporary human life – our dependence on and our relationship to modernity. Jennifer Higgie (art critic and editor at Frieze magazine) wrote the following in Moderna Museet’s catalogue for the 2011 Venice Biennale, when Eriksson represented Sweden:

He (Andreas Eriksson) states that nature is something neutral to him, something that is ‘highly precise and strikingly random’ and which lacks a connection to ‘a deliberate, constructed or strategic context’. He does not consider nature to be something that is in opposition with culture, even if he admits that it is impossible not to filter an environment – or a painting or a sculpture – through one’s own cultural and personal associations. It is, in other words, impossible to see something as solely one thing. Everything generates a chain of connections, an allusion to something else – a memory. Eriksson is sought after for exhibitions both internationally and within Sweden. In 2007 he received the highly prestigious award ‘Baloise Art Price’ at Statement, Art Basel. His first solo–show at a major art institution was at Bonniers Konsthall in the spring of 2014. The exhibition was a critical success and toured Trondheim Kunstmuseum in Norway, Centre PasquArt in Switzerland and the Reykjavik Art Museum, Iceland.

351. Andreas Eriksson, ‘Fönster och träd II’. Signed Andreas Eriksson and dated 2010 on verso. Dated on the stretcher Medelplana 2010. Acrylic and oil on canvas 180 x 150 cm. (d) Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

256. Karin Broos, ‘Spegling 3’. Signed Karin Broos and dated 2008–2009 on verso. Acrylic on canvas 108 x 80.5 cm. (d) Estimate: SEK 200 000 – 300 000 / EUR 19 630 – 29 440

KARIN BROOS Water, and its mirror–like surface, is central to Broos’ practice: water as that seductive essential element, yet with powerful currents of depth and darkness. The piece in this auction, Spegling 3, was exhibited at Borås Konstmuseum in 2011. In the book Speglingar, which was published to accompany the exhibition, Ingela Lind poetically describes the atmosphere in Broos’ paintings: “There Värmland’s lakes deepen, drawing us down towards their dark depths. There the sky is scored by the spruce forest’s jagged edge. There nature is confined, and there is the jetty – civilisation’s last outpost before the abyss: the great sinkhole is also liberation. There young women tether the earth to the sky and the ocean. There white dogs are suspended in the air as if messengers from a different world. And there people sink into themselves – into what?” It is a world of women that Broos depicts. Through the years she has created several paintings of young women lying down, sitting, floating or standing in glimmering lake water. The models in her paintings are usually taken from her close family, such as her daughters and grandchildren.

Her imagery is inspired by the county of Värmland’s landscapes – the lake Fryken, the enormous forests that surround the lake’s beaches, or from her home in Östra Ämtervik. What seem like everyday situations are often ambiguous and charged with contemplative undercurrents. Karin Broos had a somewhat late career breakthrough with her exhibition at Kristinehamns Konstmuseum in 2008. That same year Moderna Museet in Stockholm acquired her work Spegling 2 for their collections. The motif in this piece – a young woman peering down into the water – is very similar to Spegling 3. Her breakthrough was followed by exhibitions at, amongst others, the already mentioned Borås Konstmuseum, Christian Larsen Gallery, as well as Sven Harrys konstmuseum and Waldemarsudde in Stockholm. In 2017–2018 her work was introduced in the USA with an extensive nationwide tour. This tour continued in Sweden and during 2019 and 2020 Broos’ paintings have been shown in Linköping, Rättvik, Nässjö, Värnamo, Falsterbo and Falun amongst others.

252. Lars Lerin, ‘Åt Fensbol i februari’. Signed Lars Lerin and dated 2018. Watercolour on paper 102 x 152 cm. (d)

Estimate: SEK 275 000 – 300 000 / EUR 26 990 – 29 440

253. Oskar Korsár, Untitled. Signed Oskar Korsár. Ink on paper 43.5 x 55.5 cm. Exhibitions: Moderna Museet, Stockholm, ‘Modernautställningen’, 18 February – 7 May 2006. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 970 – 2 950

254. Maria Miesenberger, ‘Daniel’. Signed Maria Miesenberger and dated 2001. Unique. Aluminum and glass 45 x 37 x 35 cm. Provenance: Galleri Lars Bohman, Stockholm. Private Collection, Sweden. Exhibitions: Galleri Lars Bohman, Stockholm, ‘Uncut’, 10 October – 11 November 2001. Literature: Irene Berggren e.a, ‘Maria Miesenberger; Uncut’, 2002, exhibition catalogue, compare image p. 9. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

255. Hans Andersson, From ‘Beijing–series’. Executed in 2011. Collage, watercolour, photo (doublesided). Paper collage 22 x 16.5 cm. Photo colllage 19.5 x 14.5 cm. Provenance: Angelika Knäpper Gallery, Stockholm. Tom Böttiger Collection, Sweden. Exhibitions: Angelika Knäpper Gallery, Stockholm, ‘Hans Andersson’, 2011. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

256. Karin Broos, ‘Spegling 3’. Signed Karin Broos and dated 2008–2009 on verso. Acrylic on canvas 108 x 80.5 cm. Provenance: Christian Larsen, Stockholm. Private Collection, Stockholm. Exhibitions: Borås Konstmuseum, ‘Karin Broos – Speglingar’, 16 April – 5 June 2011. (d)

Estimate: SEK 200 000 – 300 000 / EUR 19 630 – 29 440

257. Carl Hammoud, ‘Empire’. Signed Carl Hammoud and dated 2011 on verso. Oil on linen 45 x 55 cm. Provenance: Galleri Magnus Karlsson, Stockholm. Private Collection, Stockholm. Exhibitions: Galleri Magnus Karlsson, Stockholm, ‘Destroy Restore, Frieze Art Fair, London’, 12 October – 15 October 2011. (d)

Estimate: SEK 70 000 – 90 000 / EUR 6 870 – 8 840

258. Juri Markkula, ‘IKB Ground Leaves’. Signed Juri Markkula and dated 2016 on verso. Pigmented polyvinyl, polyurethan 50 x 50 x 15 cm. Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Sweden. Exhibitions: Lars Bohman Gallery, Stockholm, ‘Juri Markkula RGB JORD’, 28 April – 28 May 2016. Literature: Juri Markkula and Lars Bohman Gallery, ‘Juri Markkula RGB JORD’, 2016, illustrated on p. 56–57. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

259. Hans Lannér, ‘Uppgörelsen’. Signed HL on verso. Excuted in 2018. Acrylic on linen 39 x 47 cm. Provenance: Galleri Magnus Karlsson, Stockholm. Private Collection, Stockholm. Exhibitions: Galleri Magnus Karlsson, Stockholm, ‘Föreställningar’, 19 January – 2 February 2019. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

260. Martin Jacobson, ‘Nr 39’. Signed Martin Jacobson and dated 2016 on verso. Canvas 87 x 114 cm. Provenance: Andréhn–Schiptjenko, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

261. Roj Friberg, ‘Sarkofagförslag’. Signed with monogram and dated 88. Mixed media on paper mounted on panel 138.5 x 109.5 cm. Provenance: Acquired from the artist. Literature: Roj Friberg (ed.) and Kalejdoskop Förlag, ‘Roj Friberg’, Malmö, 1990, illustrated on the cover. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

262. Andreas Eriksson, ‘Utan titel B Hammar’. Signed Andreas Eriksson and dated 2001 on verso. Acrylic on canvas 76 x 60.5 cm. Provenance: Galleri Andersson/Sandström, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

263. Dit– Cilinn, ‘Altar and Trim’. Executed in 2009. Mixed media 107 cm in diameter, depth 40 cm. Provenance: Gallery Niklas Belenius, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 950 – 3 440

267. Linn Fernström, ‘Balloon Girl’. Signed Linn Fernström and dated 2014 on verso. Canvas 215 x 183 cm. (d) Estimate: SEK 500 000 – 600 000 / EUR 49 070 – 58 890

LINN FERNSTRÖM The painting in the auction Ballongflicka (Girl with Balloons) exhibits many of the recurring and characteristic themes in Linn Fernström’s oeuvre. Colourful balloons, a newborn baby, a girl with large eyes, and the faint outline of the artist herself. A variety of brightly coloured birds fly across the canvas, framed by beautiful yellow martagon lilies. Despite this throng the painting is utterly harmonic and balanced in its construction. Fernström’s painting is alive – and Ballongflicka is a superb example of this. Ballongflicka was shown at the Lars Bohman Gallery in Stockholm during the autumn of 2014. The exhibition was reviewed in the daily Svenska Dagbladet:

new works, shown at Bohman. The formats are large, the palette rich and the brushwork is powerful. The figures resemble ones we’ve met before. A young woman, with the artist’s features, wanders alone with her thoughts, closed off and mysterious, yet exposed to our gaze. A screaming naked baby reaches its arms towards empty space. Monkeys dance. Wide–eyed children with serious expressions, as if no one taught them how to laugh. They are all there, surrounded by gigantic budgerigars, mayflies, smaller birds and clusters of balloons. These recurrent motifs are yet to be worn out. They continue to be the bearers of enigmatic histories.

“She crashed onto the Swedish art scene almost 15 years ago, dividing it into two camps. Linn Fernström has undeniably aroused strong feelings every time she has stretched a piece of linen cloth across a sturdy frame and held her paintbrush against the canvas. It is easy to recognise Fernström’s hand in the

Fernström’s painted worlds are ablaze with colour. If bright on the surface they are pitch–black within. There is something worryingly threatening in these scenes, oscillating between the white in the background and the blood–red that is almost dripping off the canvases.” (Extract from Joanna Persman’s review in Svenska Dagbladet, 27/8/2014)

264. Marie–Louise Ekman, ‘Donna dalla faccia nera’. Signed ML.E and numbered 2/8. Glass, length 33 cm, width 32 cm. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 970

265. Marcus Eek, ‘U Here’. Signed Marcus Eek. Executed in 2016. Canvas mounted on panel 130 x 120 cm. Provenance: Galleri Charlotte Lund, Stockholm. Private Collection, Stockholm. Exhibitions: Galleri Charlotte Lund, Stockholm, ‘Marcus Eek – Carte Blanche’, 9 March – 29 April 2017. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

266. Anders Widoff, ‘Kissing’. Signed Widoff and dated 96. Also signed on verso. Oil on acrylic glass 50 x 40 cm. Provenance: Private Collection, Stockholm. (d)

Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 970

267. Linn Fernström, ‘Balloon Girl’. Signed Linn Fernström and dated 2014 on verso. Canvas 215 x 183 cm. Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm. Exhibitions: Lars Bohman Gallery, Stockholm, ‘Linn Fernström, Talk bubble on a straw’, 21 August – 21 September 2014. Literature: Lars Bohman Gallery, ‘Linn Fernström, Målningar och skulpturer’, 2014, illustrated fullpage p. 25. (d)

Estimate: SEK 500 000 – 600 000 / EUR 49 070 – 58 890

268. Christian–Pontus Andersson, ‘Oh Lord, to Follow Her Own Law is Not the Way of the Trannie’. Signed C.P.a. and dated 2007. Porcelain, partly lacquered in mother–of–pearl ca 83 x 78 x 35 cm. Edition of 6. Chromated foundation designed by the artist. Provenance: Christian Larsen, Stockholm. Acquired from the above in 2008. Exhibitions: Christian Larsen, Stockholm, ‘Cry Me the Sorrows’, 18 October – 18 November, 2007. Another copy exhibited. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

269. Ulf Rollof, ‘RGB’. Signed Rollof and dated 2010. Triptych. Acrylic, floatglass and metalholders. Rounds of 9 mm revolver shots. Height 99, width 207 and depth 1.3 cm. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 270 – 14 720

270. Peter Frie, Untitled. Signed P. Frie on verso. Canvas 180 x 130 cm. Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 720 – 19 630

271. Astrid Sylwan, Untitled. Signed Astrid Sylwan and dated 2014 on verso. Canvas 175 x 183 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

272. Lars Englund, ‘Relative’. Executed 1984. Steel. Height 105 cm. Depth 95 cm. Provenance: Björn Springfeldt Family Collection, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

273. Moa Israelsson Forsberg, ‘Oak Glen RV Park’. Executed in 2013. Miniwell, polyester, epoxy, wire, 77 x 47 x 21 cm. Steel base 70 cm high. Provenance: Angelika Knäpper Gallery, Stockholm. Tom Böttiger Collection, Stockholm. Exhibitions: Angelika Knäpper Gallery, Stockholm, ‘areawilderness’, 21 February – 17 March 2013. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

274. Torsten Andersson, ‘Blomma’. Canvas mounted on canvas 60 x 58 cm. Provenance: Stockholms Auktionsverk, Nutida 2015–11–10, lot 86. Private Collection, Stockholm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

275. Lena Cronqvist, Untitled. Signed Lena Cronqvist and dated 98. Pencil on paper 26 x 19.5 cm. (d)

Estimate: SEK 10 000 – 15 000 / EUR 990 – 1 480

276. Lars Lerin, From the series ‘Neverland’. Executed in 2013. Watercolour on paper 101 x 152 cm. (d) Estimate: SEK 300 000 – 400 000 / EUR 29 440 – 39 260

LARS LERIN Lars Lerin’s much celebrated 2014 solo show Arkiv at Lars Bohman Gallery included, as well as his large watercolours of bookshelves or display cases with taxidermy birds, brightly-coloured depictions of theatres, cathedrals and fairgrounds (for example, Michael Jackson’s private fairground ‘Neverland’). Both critics and the public praised the mix of the spectacular and the ordinary in his imagery. Here, finally, was Lerin’s entire range on show. The large watercolour in the auction is from the series Neverland and was displayed in the exhibition right next to its ‘sister’ painting. Since then it has remained in the same private collection. Lars Lerin is one of Sweden’s most beloved artists. Through his technically brilliant watercolours he captures the Swedish soul in a way few other artists have managed. There is a kind of magnificent melancholy and a tenderness for small everyday moments in his work. Nobody or nothing is too insignificant or trivial to catch Lerin’s eye; pinned butterflies, sailors longing for love, archival folders, sunsets in Northern Norway, family albums, typical 1960s tenements or Elsa in the village of Skräddartorp with her 28 cats. All this is immortalised in a sensitive and assured style, by an artist who dares to reveal his own vulnerability.

276. Lars Lerin, From the series ‘Neverland’. Executed in 2013. Watercolour on paper 101 x 152 cm. Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm. Exhibitions: Lars Bohman Gallery, Stockholm, 2 October – 31 October 2014. Literature: Lars Bohman Gallery, Lars Lerin m.fl, ‘ARKIV Lars Lerin’, 2014, illustrated on p. 109. (d)

Estimate: SEK 300 000 – 400 000 / EUR 29 440 – 39 260

277. Marie–Louise Ekman, ‘Trasig Mondrian och en Gunnar Björling–dikt I–VI’. Signed M.L De Geer Bergenstråhle and dated 1988 on verso. Six parts. Gouache on cardboard, 6.5 x 9 cm per part including artist’s frame. Provenance: Private Collection, Stockholm. (d)

Estimate: SEK 20 000 – 30 000 / EUR 1 970 – 2 950

278. Jim Thorell, ‘The Horrible Insight’. Signed Jim Thorell and dated 2016 on verso. Canvas 150 x 110 cm. Provenance: Setareh, Düsseldorf. Private Collection, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

279. Ylva Ogland, ‘Grotto, The Real World’. Signed Ylva Ogland and dated 2015. Triptych, oil on canvas 207 x 252 cm. Provenance: Fruit & Flower Deli, Stockholm. Private Collection, Stockholm. Exhibitions: Bonniers Konsthall, ‘Hon i fyra akter’, 22 April – 26 July 2015. Literature: Bonniers Konsthall och Silvana Editoriale, ed. Sara Arrhenius and others, ‘Ylva Ogland, She, an introduction’, Stockholm, 2015, illustrated fullpage p. 19. (d)

Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

280. Jonas Liveröd, ‘House of Fiction #1’. Signed Jonas Liveröd and dated –09. Ink on paper 150 x 141 cm. Provenance: Goldin–Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

281. Andreas Eriksson, ‘Almoso 75’ (special sag edition)’. Signed Andreas Eriksson and dated 2002 on verso. Oil on MDF 30 x 30 cm. Provenance: Galleri Andersson/Sandström, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

282. Lena Cronqvist, ‘Inrullad’. Signed LC and Lena Cronqvist. Edition 4/5 with stamp from H. Bergman Konstgjuteri, Stockholm. Executed 1993–94. Bronze, height 17 cm. Literature: Galleri Lars Bohman (ed.), ‘Lena Cronqvist – Skulpturer’, 1995, illustrated fullpage on p. 13. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

283. Ola Billgren, ‘Studio, augusti II’. Signed Ola Billgren and dated –95 on verso. Canvas 47.5 x 35.9 cm. Provenance: Galleri Engström, Stockholm. Private Collection, Stockholm. Exhibitions: Galleri Engström, Stockholm, ‘Ola Billgren – Om färgen’, 2–31 March 1996. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 270 – 14 720

284. Jockum Nordström, ‘Four and One’. Executed in 1989. Oil on canvas 100 x 134 cm. Provenance: Galleri Arton A. Stockholms Auktionsverk, Nutida, 10 November 2015. Private Collection, Sweden. (d)

Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

285. Martin Wickström, ‘Fairyland I’. Signed Martin Wickström and dated –89 on verso. Oil on masonite, MDF–box, glass, plastic, metal, lightning, electricity, 72.5 x 77.5 x 33 cm. Provenance: Galleri Göran Engström, Stockholm. Fredrik Roos samling, Stockholm. Stockholms Auktionsverk, ‘Fredrik Roos nordiska samling från Rooseum’, 27 September 2006, lot 39. Tom Böttiger Collection, Stockholm. Exhibitions: Galleri Göran Engström, Stockholm, 1989. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

286. Martin Wickström, ‘Fairyland II’. Signed Martin Wickström and dated –89 on verso. Oil on masonite, MDF–box, glass, plastic, metal, lightning, electricity, 73 x 77.5 x 33 cm. Provenance: Galleri Göran Engström, Stockholm. Fredrik Roos samling, Stockholm. Stockholms Auktionsverk, ‘Fredrik Roos nordiska samling från Rooseum’, 27 September 2006, lot 38. Tom Böttiger Collection, Stockholm. Exhibitions: Galleri Göran Engström, Stockholm, 1989. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

287. Martin Wickström, ‘Fairyland III’. Signed Martin Wickström and dated –89 on verso. Oil on masonite, MDF–box, glass, plastic, metal, lightning, electricity, 73 x 77.5 x 33 cm. Provenance: Galleri Göran Engström, Stockholm. Tom Böttiger Collection, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

HEIKKI MARILA In Heikki Marila’s monumental canvases contemporary versions of exuberant floral still lifes are presented. Marila’s paintings blend a baroque elegance with dramatic contrasts: black backgrounds, thick layers of paint and a structure that sometimes veers towards the grotesque and the carnal. The rich and detailed paintings of the baroque period were full of symbolism. During the Dutch ‘tulip mania’ certain tulip bulbs were worth more than others. The Semper Augustus with its petals of blood-red flares vividly streaked on a white ground, was one of the most coveted. This unusual and elegant variety can be found in the work of prominent Dutch still life painters such as Jan Davidsz de Heem as well as in Johannes Bosschaert’s Still Life with Tulips, from 1628, which hangs in the Nationalmuseum in Stockholm. Flower arrangements are a recurrent theme in painting and this gives Marila the freedom to experiment with the pastosity of colour and the boldness of brush strokes. Because we already have an idea of what a floral still life should look like, Marila doesn’t need to reproduce a real bouquet in order to create his paintings, but can instead draw from memory in order to reference existing work within the genre. In 2012 Marila was awarded the first prize in the Carnegie Art Award, winning out over a tough field of 17 other Nordic artists. Galerie Forsblom in Helsinki has represented Marila since 2015 and his work is included in several important collections, amongst others the Ståhl Collection, Norrköping and the Jenny and Antti Wihuri Foundation Art Collection in Rovaniemi. 291. Heikki Marila, ‘Flowers II’. Signed H. Marila on verso. Canvas 250 x 200 cm. (d) Estimate: SEK 150 000 – 200 000 / EUR 14 720 – 19 630

288. Emanuel Röhss, ‘Hans Sparre Stockholm’. Signed Emanuel Röhss and dated 2014 on verso. Canvas 170 x 129 cm. Provenance: Acquired from the artist by the present owner. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

289. Truls Melin, ‘Skulptur eller flykt från en plats’. Executed 1986. Fibreglass and wood 70 x 40 x 40 cm. Provenance: Björn Springfeldt Family Collection, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

290. Rolf Hanson, ‘Runtom trappa’. Signed Rolf Hanson. Mixed media on paper 120 x 90 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

291. Heikki Marila, ‘Flowers II’. Signed H. Marila on verso. Canvas 250 x 200 cm. Provenance: Christian Larsen, Stockholm. Acquired in 2011 by the present owner. Exhibitions: Christian Larsen, Stockholm, ‘Heikki Marila’, 17 November – 18 December 2011. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 720 – 19 630

292. Juri Markkula, ‘Green to Lilac’. Signed Juri Markkula and dated 2012 on verso. Interference pigment, polyuretan filler and epoxy on canvas 65 x 65 cm. Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Sweden. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

293. Lisa D Manner, ‘Pile’. Signed Lisa D Manner and dated 2015 verso. Oil on panel 40 x 30 cm. Provenance: Galleri Flach, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

294. Anders Widoff, ‘Utan titel (Badande)’. Signed Anders Widoff and dated 1989 on verso. Oil on canvas laid down on board with acrylic glass, 85 x 62 cm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

295. Rolf Hanson, ‘Runtom trappa’. Signed Rolf Hanson and dated 2011 on verso. Panel 118 x 97 cm. (d)

Estimate: SEK 300 000 – 350 000 / EUR 29 440 – 34 350

296. Anna Bjerger, ‘Magic Box’. Signed Anna Bjerger on label verso. Executed in 2010. Oil on aluminium 60 x 50 cm. Provenance: Galleri ALP Peter Bergman, Stockholm. Private Collection, Stockholm. Exhibitions: Växjö konsthall, ‘Anna Bjerger – Vera Nilsson – Handling’, 2012. Paradise Row Gallery, London, ‘A perfect throw’, 2010. Loquesomos Museo Queretaro, Mexico, 2011. Växjö konsthall, ‘Anna Bjerger – Vera Nilsson – Handling’, 2012. Literature: Konstvärlden, illustrated, 2012. Anna Bjerger – Paintings, 2011, ill p. 75. Konstvärlden, illustrated, 2012. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

297. Per Olof Ultvedt, Untitled.

Signed P.O. Ultvedt and dated –89 on verso. Mobile. Painted wood with rotating discs and electric engine 61 x 61 cm. Later mounted on base. Total height 191 cm. Provenance: Bukowskis, ‘Moderna Höstauktionen 2001’, lot 411. Private Collection, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

298. Per Olof Ultvedt, ‘Svart Sommar’. Signed P.O Ultvedt. Wall object, mixed media, painted wood, mobile with engine. Measurements 61 x 61 x 11 cm. Provenance: Bukowskis, ‘Moderna Vårauktionen 2004’, lot 566. Private Collection, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

299. Öyvind Fahlström, ‘Komposition 1’. Signed Öyvind Fahlström. Executed in 1958/59. Mixed media on paper 32 x 40 cm. Provenance: Föreningen konst i skolan, Stockholm. Galerie Bel’Art, Stockholm. Boibrino Gallery, Stockholm. Private Collection, Sweden. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

300. Ebba Matz, ‘Connecting Worlds’. Two sculptures in faux–fur and mixed media, executed in 2001. Ca 58 x 70 x 40 cm and 60 x 70 x 42 cm. A total of 5 were made. Provenance: Björn Springfeldt Family Collection, Stockholm. Exhibitions: Kennedy Center, Washington DC, USA, ‘Connecting Worlds: Contemporary Sculpture from the European Union Countries’, 2001. (d)

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

301. Bigert & Bergström (Mats Bigert, Lars Bergström), ‘F5’. Executed in 2012. UV–print on glass and aluminum 120 x 160 cm. Provenance: Gallery Niklas Belenius, Stockholm. Private Collection, Sweden. Exhibitions: Belenius Gallery, Stockholm, ‘The Storm’, 1 September – 29 September 2012.

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

302. Linn Fernström, ‘Flicka med rör’. Signed Linn Fernström and dated 2016 on verso. Mixed media on paper 66 x 48 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

303. Alexander Klingspor, ‘Awaiting His Return’. Executed 2005–06. Canvas 105.5 x 82 cm including original frame. Provenance: Acquired from the artist. Private Collection, Stockholm. Exhibitions: Arcadia Gallery, New York, 2006. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 820 – 11 780

304. Carl Fredrik Reuterswärd, ‘Non–Violence’. Signed Carl Fredrik Reuterswärd and numbered 62/99 on plaque. Patinated bronze length 23 cm, height 15 cm. Granite base length 16.5 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

305. Hilde Retzlaff, L'Oréal Paris Matthew McConnaughey, 2014’. Diptych. Mixed media 199 x 303 cm. Provenance: Belenius, Stockholm. Private Collection, Stockholm. Exhibitions: Belenius, Stockholm, ‘Text’, 17 May – 17 June 2018. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

309. Torsten Andersson, ‘Måsen’. Signed Torsten and dated 58. Canvas 97 x 139.5 cm. (d) Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

TORSTEN ANDERSSON “Only a fanatical style–devotee could overlook the way that the dominant styles of painting in the 1950s had begun to increasingly grow closer before finally, immediately prior to monochrome painting, coinciding. The step towards monochrome painting was inevitable. Behind this timeliness I traced a Darwinian theory of evolution, an evolution that in my case, in 1961, concluded with the white Måsen. Måsen was originally a piece of linen fabric, from which I cut a bird-like shape, then I sewed the shape on again, glued the canvas and finally painted everything in white. On the front of the canvas the seam is now visible as a line that takes shape then disappears, then takes shape again. In the moments when the line retreats a surface is created by the white colour. It was these two interpretations of Måsen that I uncovered in 1962 and presented separately in Källan. The upper painted part of Källan signifies a conscious reconquering of the approach that transforms the surface into a fictitious closed vacuum, an approach that is identical to the visual language of realism. The lower, separate black wooden panel is an elaboration on modern painting’s view of surface as surface and as open, spatial surface structure. The white Måsen, Sweden’s only monochrome painting, was exhibited in 1962 at Galleri Burén; no one saw it. Måsen was important to me, and that’s why I re-exhibited it in the same gallery in 1966; still no one saw it.

You have underestimated these images because you have underestimated my method of negation, the awareness and consistent loneliness of my struggle for a language. You have concealed and finally killed off the desire for overarching consequences and initiatives for global renewal. ” Thus writes Torsten Andersson in the catalogue of Moderna Museet’s exhibition of his work in 1986–87. Around 1960 many artists had begun turning their backs on painting and looked for other ways of expressing themselves. This was not the case for Andersson. He wanted to reclaim easel painting and to formulate his own visual language in order to find new ways of painting. It was during this period that the paintings Måsen (Malmö Konstmuseum) and Källan (Moderna Museet) came about. Today they are considered two of the most iconic works of Swedish postmodernism. Andersson executed several versions of his Måsen motifs, through which he experimented with and moved toward monochrome painting. The piece in the auction was executed in 1958, a few years ahead of the painting in Moderna Museet.

306. Hertha Hanson, ‘Kappillärerna’. Signed Hertha Hanson and dated 2011 on verso. Oil on canvas 170 x 150 cm. Provenance: Vargåkra Gård, Konsthall, Hammenhög. Collection Dan–Ola och Ann Christine Larsson. Exhibitions: Vargåkra konsthall, 2011. Lunds domkyrka, 2011. Literature: Thomas Millroth (ed.) among others, ‘Konsten – en del av livet’, illustrated p. 59. (d)

Estimate: SEK 45 000 – 50 000 / EUR 4 420 – 4 910

307. Peter Frie, ‘Eliopainting #24’. Signed PFrie. Executed in 2009. Oil and wax on panel 14 x 10.5 cm. Provenance: Galerie Forsblom, Helsinki. Private Collection, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

308. Fredrik Hofwander, ‘Lament for a lost world, even if that world contained its own sorrows and disappointments’. Signed Fredrik Hofwander and dated 2012 on verso. Pencil on paper 83.7 x 123.4 cm. Provenance: Stene Projects, Stockholm. Stockholm Auktionsverk, ‘Nutida – Kvällsauktion’, 14 May 2014, lot 80. Private Collection, Stockholm. Exhibitions: Stene Projects, Stockholm, 2012. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

309. Torsten Andersson, ‘Måsen’. Signed Torsten and dated 58. Canvas 97 x 139.5 cm. (d)

Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

310. Astrid Sylwan, ‘Love and all its glory’. Signed Astrid Sylwan and dated 2010 on verso. Acrylic on canvas 220 x 200 cm. Provenance: Galleri Andersson/Sandström, Stockholm. Stockholms Auktionsverk, Nutida auktionen, 10 November 2015, lot 87. Tom Böttiger Collection, Stockholm. Exhibitions: Motala Konsthall, Motala, 2011. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 820 – 11 780

311. Andreas Eriksson, ‘Untitled’. Signed Andreas Eriksson and dated –03 on verso. Acrylic on MDF 30 x 30 cm. Provenance: Galleri Andersson/Sandström, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

LO T TA H A N N E R Z ‘Curiosity killed the cat’ is the old English idiom that Lotta Hannerz employs as the title for her compelling artwork. Being curious can sometimes lead to misfortune, something the inquisitive man in the painting with his friendly mien will soon find out. A ‘cat’–astrophe awaits anyone who plans to get through that closed door. Look through the keyhole yourself, if you dare! Hannerz’s inventive art plays with proportions, optical illusions and puns. Her paintings often defy their two–dimensional surfaces and transform into three–dimensional objects. We think we understand what we’re seeing, but she tricks us at every turn as we encounter layer upon layer of intellectual stunts and art historical passes. Hannerz artistic practice is founded on her own ‘free’ relationship with the great master of surrealism, René Magritte and the Dadaist Marcel Duchamp. Yet, she has made her own way in an absolutely unique manner. Hannerz works with paintings, objects, sculptures and installations. Everything bears the mark of a very personal expression, where the titles add yet another dimension to the experience of the works. Her palette is one of soft and inviting colours, matched by the streets and the facades of her current home city, Paris. Hannerz’s interiors are inhabited by her characteristic figures, including the balding man in a light–coloured shirt and the woman with round glasses (suspiciously similar to herself). During her time studying at the Royal Institute of Art in Stockholm Hannerz was a ‘Special Student’ to Erik Dietman, whose influence and inspiration can be seen in her work. Not least in the monumental piece Venu?, a large pointing hand that created quite a stir when it was placed in the middle of ‘Strömmen’ (the part of lake Mälaren that runs through the centre of Stockholm), right outside the Royal Palace, for a few months in 2004. Lotta Hannerz was educated at Konstfack and the Royal Institute of Art in Stockholm. She has had several solo exhibitions, including at Angelika Knäpper Gallery, Stockholm, and Galerie Claudine Papillon in Paris. When Nationalmuseum in Stockholm put on the exhibition of trompe l’oeil work The Deluded Eye – Five Centuries of Deception in 2008, Hannerz’s work was included. She is also represented in several prestigious collections, for example, at Moderna Museet, Malmö Konstmuseum and at the Kunstmuseum in Bonn. 328. Lotta Hannerz, ‘Curiosity killed the cat’. Executed 2009. Mixed media, wood, papier–maché, canvas, LED–light. Height 200, width 80 and depth 75 cm. (d) Estimate: SEK 70 000 – 80 000 / EUR 6 870 – 7 850

ANDERS KRISAR Anders Krisár (b. 1973, Stockholm) was educated at Konstfack in Stockholm and at the School of Communication Arts in London, and has also trained as a composer at New York University. He previously worked as an art director and begun his artistic career with photography. However, in his three latest exhibitions at CFHILL Art Space in Stockholm he has been showing sculptures. Krisár is a perfectionist and these sculptures are finely polished reproductions of bodies. The exhibition Sculptures from 2018 was the first time that he exhibited human–form sculptures in Carrara marble. Each of the pieces were carved by a professional stone-cutter under the direction of Krisár. The motifs are of perfectly androgynous bodies and he explains his need for perfection as a kind of compulsion. He understands perfectionism not as a way of

reaching satisfaction, but one of avoiding pain. Having grown up with parents who were both affected by mental illness (his mother was bipolar and his father schizophrenic), these beautifully polished, perfect bodies, often in halves, begin to process his deep-rooted traumas. They are divided so as to accentuate separation and loss. When you carve by hand in a material such as marble you cannot change your mind, if your tool slips you cannot press delete. There is no point of return when you have begun working on a large block of marble. Just like with birth, there is no return. And aren’t the bodies so exquisitely innocent, precisely like those of newborns? 315. Anders Krisár, ‘Half Girl (right)’. Signed and dated 2018. Edition 2/3 +2 AP. Carrara marble 47 x 17.5 x 19 cm. (d) Estimate: SEK 250 000 – 300 000 / EUR 24 540 – 29 440

312. Andreas Eriksson, ‘Untitled’. Signed Andreas Eriksson and dated 2002 on verso. Oil on MDF 30 x 30 cm. Provenance: Galleri Andersson/Sandström, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

313. Lena Cronqvist, ‘Flickor och katt’. Signed Lena Cronqvist and dated 1990. Canvas 144 x 100.5 cm. Exhibitions: Göteborgs Konstmuseum, ‘Lena Cronqvist. Retrospektivt. Måleri skulptur teckningar’, 22 October – 30 November 1994. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 820 – 12 270

314. Clay Ketter, ‘Trace Painting #14’. Signed Clay Ketter och dated 1996 on verso. Mixed media on panel 120 x 120 cm. Provenance: Jay Jopling, London. Bukowskis, Contemporary 564, lot 401. Bukowskis, Contemporary 599, 16 May 2017, lot 24. Private Collection, Stockholm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 910 – 5 890

315. Anders Krisár, ‘Half Girl (right)’. Signed and dated 2018. Edition 2/3 +2 AP. Carrara marble 47 x 17.5 x 19 cm. Base 84 x 40 x 40 cm. Provenance: Private Collection, Stockholm. Exhibitions: CFHILL Art Space, Stockholm, ‘Anders Krisár – New Sculptures’, 17 February – 14 March 2018, another edition exhibited. (d)

Estimate: SEK 250 000 – 300 000 / EUR 24 540 – 29 440

316. Peter Frie, ‘Beyond reach no 26’. Signed on verso. Executed in 2011. Oil on canvas in artist’s frame 104.5 x 81.5 cm. Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm. Exhibitions: Lars Bohman Gallery, Stockholm, ‘Peter Frie’, 10 September – 9 October 2011. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 820 – 12 270

317. Kristina Jansson, ‘Mensch und Sonne II’. Signed Kristina and dated –05 on verso. Oil on canvas 200 x 160 cm. Provenance: Galerie Aronowitsch, Stockholm. Bo Ahlstrand Collection, Stockholm. Private Collection, Stockholm. Exhibitions: Volta Art Fair, Basel, 2006. (d)

Estimate: SEK 140 000 – 150 000 / EUR 13 740 – 14 720

318. Jens Fänge, ‘Gata’. Signed Jens Fänge and dated 2009 on verso. Canvas 112 x 112 cm. Provenance: Galleri Magnus Karlsson, Stockholm. Private Collection, Stockholm. Exhibitions: Moderna Museet, Stockholm, ‘Modernautställningen’, 2 October 2010 – 9 January 2011. Galleri Magnus Karlsson, Stockholm, ‘Gleams and Beams’, 27 May – 27 June 2009. Moderna Museet, Stockholm, ‘Modernautställningen’, 2 October 2010 – 9 January 2011. (d)

Estimate: SEK 150 000 – 175 000 / EUR 14 720 – 17 180

319. Moa Israelsson Forsberg, ‘Nameless Lake’. Executed in 2012. Mixed media, height ca 60 cm. Provenance: Angelika Knäpper Gallery, Stockholm. Tom Böttiger Collection, Stockholm. Exhibitions: Angelika Knäpper Gallery, Stockholm, ‘areawilderness’, 21 February – 17 March 2013. (d)

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

320. Jan Håfström, ‘Berg’. Signed Jan Håfström and dated 1970. Acrylic on canvas 202 x 104 cm including the original frame. Exhibitions: Göteborgs Konsthall, ‘Närvarande’, autumn 1970. Kulturhuset, Stockholm, ‘Svensk Prisma’, 1974. Rooseum, Malmö, ‘Katarina Frostenson. Jan Håfström’, 1994. Moderna Museet, Spåvagnshallarna, Stockholm, ‘Katarina Frostenson. Jan Håfström’, 1995. Literature: Illustrated in the exhibition catalogue, Rooseum and Moderna Museet, ‘Katarina Frostenson. Jan Håfström’, 1994–1995, p. 78. (d)

Estimate: SEK 200 000 – 300 000 / EUR 19 630 – 29 440

321. Peter Frie, Untitled. Signed Peter Frie and dated Berlin 2003 on verso. Canvas 193 x 148 cm. Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm. Exhibitions: Lars Bohman Gallery, Stockholm, ‘Peter Frie’, 17 January – 22 February 2003. (d)

Estimate: SEK 175 000 – 200 000 / EUR 17 180 – 19 630

322. Roj Friberg, ‘Möte’. Signed Rf. Mixed media on paper 72 x 97 cm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

323. Astrid Svangren, ‘Untitled’. Mixed media on plexiglass 220 x 200 cm. Provenance: Elastic Gallery, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

324. Dan Wolgers, ‘Mor & Barn’. Signed Dan Wolgers and dated 1997. Glass and plug, height 35 cm. Literature: Galleri Lars Bohman, Stockholm, ‘Dan Wolgers, 51 objekt från 1997’, illustrated fullpage p. 17. Liljevalchs Konsthall 2001, ‘Dan Wolgers’, illustrated. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

325. Sigrid Sandström, Untitled. Signed Sigrid Sandström and dated 2009 on verso. Acrylic on panel 122 x 153 cm. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

326. Roger Risberg, ‘Häst’. Signed Roger Risberg and dated 2009 on verso. Canvas 60 x 73 cm. Provenance: Galerie Bel’Art, Stockholm. Tom Böttiger Collection, Stockholm. Exhibitions: Galerie Bel'Art, Stockholm, ‘Roger Risberg, Pånyttfödelse – nya målningar’, September – October 2009. Literature: Roger Risberg and Galerie Bel'Art, Stockholm, ‘Roger Risberg, Pånyttfödelse – nya målningar’, 2009, illustrated fullpage p. 57. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

327. Fredrik Wretman, ‘Goatrans’. Signed Fredrik Wretman. Polyuretan. Height 80 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

328. Lotta Hannerz, ‘Curiosity killed the cat’. Executed 2009. Mixed media, wood, papier–maché, canvas, LED–light. Height 200, width 80 and depth 75 cm. Provenance: Angelika Knäpper Gallery, Stockholm. Private Collection, Stockholm. Exhibitions: Angelika Knäpper Gallery, Stockholm, ‘Lotta Continua’, 4 November – 5 December 2010. (d)

Estimate: SEK 70 000 – 80 000 / EUR 6 870 – 7 850

329. Jockum Nordström, Untitled. Signed Jockum and dated 2004. Mixed media and collage on paper 92 x 63 cm. (d)

Estimate: SEK 120 000 – 150 000 / EUR 11 780 – 14 720

330. Johan Furåker, ‘Medusa in pearls’. Signed Johan Furåker and dated –15 on verso. Oil on panel 70 x 50 cm. Exhibitions: Johan Furåker ‘Life of Leisure’, Galleri Flach, Stockholm, 2015. Literature: CASATI, The Female Dandy, Artworks on the subject of Luisa Marchesa Casati (1881–1957) by Johan Furåker (born 1978), Woodpecker Projects, Danmark. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 910 – 5 890

331. Alfred Boman, ‘Office Disaster’. Signed Alfred Boman on verso. Executed in 2012. Canvas with the artist’s frame 121.8 x 91.5 cm. Provenance: Acquired from the artist by the present owner. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

332. Tomas Lundgren, ‘Apart’ (4a–b)’. Signed Tomas Lundgren and dated 2015–16 on verso. Diptych. Canvas 41 x 31 cm per part. Provenance: CF Hill, Stockholm. Private Collection, Stockholm. Exhibitions: Färgfabriken, Stockholm, 2016, ‘Beckers Konstnärsstipendium’. CF Hill, Stockholm, ‘Reenact’, 19 January – 10 February 2017. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

333. Clay Ketter, ‘Graham’s Chick’. Signed Clay Ketter and dated 2006. Mixed media on panel 126 x 128 cm. Provenance: Brändström & Stene, Stockholm. Stockholms Auktionsverk, ‘Nutida’, 15 May 2013. Tom Böttiger Collection, Stockholm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

334. Barbro Bäckström, ‘Mikuni’. Iron wire 180 x 151.6 cm. Provenance: Barbro Bäckström, Lund. Galleri Eklund, Umeå. Private Collection, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

335. Jan Håfström, ‘Grammaticus’. Signed Jan Håfström and dated 1990 on verso. Diptych, oil on two panels 250 x 240 cm. Exhibitions: Galleria Ugo Ferranti, Rom 1990 Literature: Martin Sundberg, ‘Tillvaratagna effekter – om Jan Håfströms konstnärskap och konstnärsroll’, 2005, compare image from Moderna Museet, pl. 17. Liljevalchs Konsthall, ‘Jan Håfström – Book of The Dead’, exhibition catalogue 2009, compare p. 158. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

336. Lena Cronqvist, Untitled. Signed LC and dated 2005. Painted ceramic, height 10.5 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

337. Lisa D Manner, ‘Rewind’. Signed Lisa D Manner and dated 2008 on verso. Oil on plexiglass 53.5 x 40 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

338. Alfred Boman, ‘Untitled’. Signed Alfred Boman and dated 2015 on verso. Canvas 170 x 190 cm. Provenance: NOCO Art Collection, Sweden. Private Collection, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

339. Elis Eriksson, ‘Ohöljd visar jag meg inte’. Signed EEE through Anita Jobsmyr on verso. Canvas 208 x 208 cm. Provenance: Galleri Lars Bohman, Stockholm. Stockholms Auktionsverk, Modern Art and Works of Art – Contemporary Art, 2 nov 2007, lot. 1286. Tom Böttiger Collection, Stockholm. Exhibitions: Galleri Lars Bohman, Stockholm, ‘Dåm röda å dåm inte’, 2002. Norrköpings konstmuseum, 2006. Värmlands museum, Karlstad, 2006. Millesgården, Stockholm, ‘massa ande ting’, 31 May – 20 August 2006. Malmö konstmuseum, 2006. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

340. Peter Frie, Untitled. Panel 15 x 10 cm. Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

341. Martin Wickström, ‘Street 154’. Signed MW and Martin Wickström and dated 2008 on verso. Canvas 150 x 180 cm. Provenance: Stockholms Auktionsverk, ‘Nutida’, 22 May 2012, lot 238. Private Collection, Stockholm. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 820 – 11 780

342. Fredrik Vaerslev, ‘Untitled (Garden Painting)’. Signed Fredrik Vaerslev and dated 2014 on verso. Diptych. Wood, steel 140 x 64 x 27.5 cm and 140 x 75 x 27.5 cm. Provenance: NOCO Art Collection, Sweden Private Collection, Stockholm. Exhibitions: Göran Christensen, ‘NOCO – Nordic Contemporary Art Collection’, illustrated p. 98. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

343. Lars Lerin, ‘Kiruna’. Signed Lars Lerin and dated 2019. Watercolour on paper 103 x 150 cm. (d)

Estimate: SEK 250 000 – 300 000 / EUR 24 540 – 29 440

344. Dick Bengtsson, ‘Målning’. Signed Dick Bengtsson. Executed in 1986. Mixed media on panel 70.4 x 122 cm. Provenance: Stockholms Auktionsverk, 22 May 2012. Private Collection, Sweden. Exhibitions: Lunds Konsthall, ‘Dick Bengtsson’, 1994. Göteborgs Konstmuseum, Gothenburg, ‘Dick Bengtsson’, 13 January – 25 March 2001. Moderna Museet, Stockholm, ‘Dick Bengtsson’, 21 January – 30 April 2006. Literature: Mårten Castenfors (ed.), ‘Dick Bengtsson’, SAK, 2005, illustrated on p. 150. (d)

Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

345. Marcus Eek, ‘Interference’. Signed Eek. Executed in 2017. Oil, acrylic and fabric on canvas mounted on panel 130 x 110 cm. Provenance: Galleri Charlotte Lund, Stockholm. Private Collection, Stockholm. Exhibitions: Galleri Charlotte Lund, Stockholm, ‘Marcus Eek – Carte Blanche’, 9 March – 29 April 2017. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

346. Sirous Namazi, ‘Skulptur’. Executed in 2007. Mixed media 32.5 x 29 x 19.5 cm. Plexiglass box and shelf included in lot, height 36 cm. Provenance: Galleri Magnus Åklundh, Malmö. Acquired in 2007. Collection Dan–Ola and Ann Christine Larsson. Exhibitions: Galleri Magnus Åklundh, Malmö, 2007. Literature: Thomas Millroth (ed.) among others, ‘Konsten – en del av livet’, illustrated p. 93. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 950 – 3 440

347. Martin Wickström, ‘And Child’. Signed Martin Wickström and dated 1991 on verso. Oil and mixed media with electric light on panel 180 x 150 cm. Provenance: Acquired from the artist. Tom Böttiger Collection, Stockholm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

348. Jan Håfström, ‘Skogsaltare I och II’. Signed Jan H underneath. Executed in 1970. Diptych. Original instructions included. Painted plywood, plastic grass, plastic trees. Each part: 36.7 x 25 x 9 cm. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

349. Alexander Klingspor, ‘Explosion II’. Signed A. Klingspor. Canvas 83 x 90 cm. Provenance: The Perfect World Foundation, Gothenburg. Bukowskis, Contemporary Art & Design 623, lot 1216. Private Collection, Stockholm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 910 – 5 890

350. Ulrik Samuelson, ‘Sundbyholm V’. Signed Ulrik Samuelson. Dated 1965 verso. Oil on canvas 96 x 133 cm. Literature: Ulrik Samuelson (ed) and others, ‘Ulrik Samuelson, Second Hand’, illustrated fullpage p. 30. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

351. Andreas Eriksson, ‘Fönster och träd II’. Signed Andreas Eriksson and dated 2010 on verso. Dated on the stretcher Medelplana 2010. Acrylic and oil on canvas 180 x 150 cm. Provenance: Galleri Andersson/Sandström, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

352. Max Mikael Book, ‘På Drottningholm’. Signed Max Book and dated 2006. Panel 60 x 80 cm. Provenance: Stockholms Auktionsverk, ‘Modern Art and Works of Art’, 27 oct 2009, lot 295. Private Collection, Stockholm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 910 – 5 890

353. Magnus Andersen, ‘Labor and Alienation’. Signed M. Andersen and dated 2016 on verso. Spray paint on canvas, acrylic, foam, handmade frame by the artist 135 x 164.5 cm. Provenance: Carl Kostyál, Stockholm. Private Collection, Stockholm. Exhibitions: Carl Kostyál, Stockholm, ‘Summer Show’, 19 May 2017 – 18 June 2017. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

354. Matthias van Arkel, ‘Growing Nature’. Signed MvA. Executed in 2008. Silicone rubber and stainless steel ca 144 x 142 cm. Exhibitions: Galerie Aronowitsch, Stockholm, ‘Silicone Dreams’, 2008. Literature: Magnus Bons, ‘Matthias van Arkel’, 2013, illustrated fullpage p. 99. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

355. Jan Håfström, Untitled. Signed Jan Håfström and dated 1991 on verso. Assemblage with wood, metal and canvas 75 x 43 cm. Provenance: Stockholms Auktionsverk, ‘Bo Siesjö collection’, 29 September 2010, lot 237. Private Collection, Stockholm. (d)

Estimate: SEK 15 000 – 18 000 / EUR 1 480 – 1 770

356. Petter Zennström, ‘Flygande’. Signed PZ and dated –86. Oil on panel (4 parts) 279 x 279 cm. Provenance: Björn Springfeldt Family Collection, Stockholm. Exhibitions: Lunds Konsthall, 1986. Galleri Riis, Oslo, January 1989, cat no 7. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

357. Donald Baechler, ‘Fruktstilleben’. Signed DB and dated 89. Mixed media/collage 67 x 52 cm. Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

358. Fernandez Arman, ‘Slices of Liberty’. Bronze on marble base, signed and numbered 63/150. Executed in 1985. Height 80 cm. This work is recorded in the Arman Studio Archives New York under number: APA# 8401.85.009. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

359. Jarl Ingvarsson, ‘Madonnan och Janet Frame’. Signed Jarl Ingvarsson and dated –95 on verso. Canvas 65 x 81 cm. (d)

Estimate: SEK 30 000 – 35 000 / EUR 2 950 – 3 440

360. Martin Wickström, ‘Anita och havet’. Signed Martin Wickström and dated 2008 on verso. Canvas 90 x 200 cm. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

360. Martin Wickström, ‘Anita och havet’. Signed Martin Wickström and dated 2008 on verso. Canvas 90 x 200 cm. Provenance: Acquired from the artist. Tom Böttiger Collection, Stockholm. Exhibitions: Örebro Konsthall, ‘Martin Wickström, Anita och havet’, 31 May – 19 August 2008. Eskilstuna Konstmuseum, ‘Martin Wickström, Anita och havet’, August – October 2008. Norrtälje Konsthall, ‘Martin Wickström, Anita och havet’, November – December 200(…) Literature: Angelika Knäpper Gallery, Galerie Leger, Galleri Aveny, ‘99_09 Martin Wickström’, 2009, illustrated fullpage p. 470–471. (d)

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

361. Georg Gudni, Untitled. Signed and dated 1989 on verso. Canvas 77 x 187 cm. Provenance: Galleri Lars Bohman, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

362. Tilda Lovell, ‘Mot Las Vegas’. Signed Tilda Lovell and dated 2006 on verso. Mixed media 41.7 x 21.2 x 29.5 cm. Glass case and shelf included in lot. Provenance: Galleri Lars Bohman, Stockholm. Tom Böttiger Collection, Stockholm. Exhibitions: Galleri Lars Bohman, Stockholm, ‘Tilda Lovell, I Follow You Into the Dark’, 15 November – 14 December 2008. CFHILL Art Space, ‘Tom Böttiger Collection Part.1’, 26 September – 15 November 2019. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

363. Roj Friberg, ‘Den glada festen’. Signed Rf and dated 85. Mixed media on paper mounted on panel 100 x 142 cm. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

364. Jan Håfström, Untitled. Signed Jan Håfström and dated 1973. Canvas 194 x 200 cm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

365. Saint Clair Cemin, ‘Soul’. Signed Cemin and dated 87. Edition 1/7. Bronze 21 x 9 x 5 cm. Provenance: Anders Tornberg Gallery, Lund. Private Collection, Lund. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

366. Anders Widoff, ‘Bells calling for Aceh (1)’. Signed Widoff and dated 2004–2005 on verso. Oil and ink on film mounted on acrylic glass 41.6 x 29.4 cm. Provenance: Christian Larsen, Stockholm. Private Collection, Stockholm. Exhibitions: Liljevalchs konsthall, Stockholm, ‘(att) bära sig’, 2005. Literature: Liljevalchs konsthall, ‘(att) bära sig – exhibition catalogue’, Stockholm, 2005, illustrated p. 141. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

367. Dan Wolgers, ‘Skulptur I (Glödlampor)’. Signed Dan Wolgers and dated 2007. Unique. Painted wood, bakelite, light bulbs, height ca 60 cm. Provenance: Lars Bohman Gallery, Stockholm. CFHILL Art Space, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

368. Ulrik Samuelson, Untitled. Signed Ulrik Samuelson. Canvas 65 x 65 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

369. Matts Leiderstam, ‘No difference at all’. The figure signed Matts Leiderstam and dated –95 underneath. Diptych, glaced ceramic, figure and English teapot, height 14 cm and 31 cm. Provenance: Andréhn Schiptjenko, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 10 000 – 12 000 / EUR 990 – 1 180

370. Kjartan Slettemark, ‘Self–portrait as Marilyn’ (Självporträtt som Marilyn). Signed Kjartan. Executed 2007. Acrylic and silkscreen on canvas 136 x 91 cm. Provenance: Galerie Bel’Art, Stockholm. Private Collection, Stockholm. Literature: ‘Kjartan himself as Marilyn’, Galleri Bel’Art, 2007, illustrated full page in color p. 29. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

371. Fernandez Arman, ‘Colour Scape’. Signed Arman. Colour tubes in plexiglass 100 x 100 cm. (d)

Estimate: SEK 50 000 – 60 000 / EUR 4 910 – 5 890

YAYO I K U S A M A The Woman, the painting in the auction, was executed by Yayoi Kusama (b. 1929) as early as 1953, when she was only 24 years old and still living in her childhood town of Matsumoto in Japan. At a very young age she already knew that she wanted to become an artist. She studied Japanese painting and in 1952 had her first solo show in her hometown. In 1955 Kusama participated in ‘The International Watercolor Exhibition: 18th Biennial’ at the Brooklyn Museum in New York and two years later she emigrated to the USA. New York was alluring; she was fascinated by the city’s art scene, which was a simmering melting pot of innovation and new ideas. Kusama quickly established herself as one of the city’s leading avant-garde artists. Her early works on paper are intimate, organic microcosms. They are the precursors to her series Infinity Mirror Rooms and Infinity Nets, paintings that she began making as early as 1959 and which have become something like her signature. Infinity Nets was a kind of spider’s web–like pattern without beginning or end – an eternal loop across a surface. The Woman, painted using a mix of gouache, pastel and ink, is typical of her early 50s work. A heavy black darkness surrounds an illuminated irregular shape. Here are the typical dots, Kusama’s trademark. The piece seems to visualise a fragment of infinity. In a continuously ongoing creative process, her own personal experiences are employed and cultivated in order to, openly and honestly, be used in the work. Kusama had experienced her first hallucinations when she was still a child. Objects, both real and imaginary, seemed to duplicate in front of her eyes. It could be flowers or even a dotted fabric and, as she explained it, it was so overwhelming that in the end she felt completely surrounded and covered by patterns. These hallucinations have continued to haunt her and remain a recurring presence. Kusama felt a need to express her powerful experiences and, along with installations and performances, her paintings became a channel through which to do so. In the 1960s she exhibited together with artists such as Andy Warhol, Claes Oldenburg and Jasper Johns. She carried out several performances and happenings that are now art history, and which gave her an international platform. Her inner worlds had found physical form. In some of her best-known performances she painted her repetitive patterns on the bodies of both men and women as well as on herself. Textile sculptures, film, poetry and, later, site–specific work, are also important elements in her practice. In 1973 Kusama moved back to Japan, where she still lives and work. For the last forty years she has been living voluntarily in a psychiatric asylum, but keeps a large studio nearby. Everyday between 9 and 18 o’clock she works there diligently together with her assistants. Her artistic oeuvre demonstrates her immense strength and drive. Kusama is considered as Japan’s most important contemporary artist and has, for example, represented the country at the Venice Biennale. Her art has been exhibited in various retrospective shows across the world and has been called the inspiration for minimalism and pop art. In 2014 The Art Newspaper named her the most popular artist in the world.

373. Yayoi Kusama, ‘The Woman’. Signed Yayoi Kusama and dated 1953 on verso. Pastel, gouache and ink on paper 40 x 30 cm. This work is accompanied by a registration card issued by Yayoi Kusama Inc. Estimate: SEK 500 000 – 600 000 / EUR 49 070 – 58 890

372. Mona Hatoum, ‘Set in Stone’. Signed certificate included in lot. Executed in 2002. Edition 19/30. Total edition 30 + 10 AP. Carrara marble with engraving (East and West in Arabic), hemp and oak shelf 24 x 65 x 20 cm. Provenance: Dep,art,ment, Stockholm. Private Collection, Stockhom.

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

Estimate: SEK 500 000 – 600 000 / EUR 49 070 – 58 890

374. Wes Lang, ‘Can Anybody Stop This?’. Executed in 2009. Ink on paper 28 x 21.5 cm. Provenance: V1 Gallery, Copenhagen. Private Collection, Stockholm.

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

375. Andreas Eriksson, ‘I ateljén kl 21.04 12 augusti 2004 (Peripeti)’. Signed Andreas Eriksson and dated 2004 on verso. Acrylic and msa varnish matt (golden) on mdf 75 x 60 cm. Provenance: Galleri Riis, Oslo. Exhibitions: Galleri Riis, Oslo, 2004. Kristianstad konsthall, ‘Exposition – Peripeti’, 22 October 2004 – 16 January 2005. Literature: Andreas Eriksson, ‘Exposition – Peripeti’, exhibition catalogue Kristianstad konsthall, 2004, illustrated on p. 17. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

376. Michael Staniak, ‘IMG_043 (holographic)’. Signed Michael Staniak and dated 2014 on verso. Casting compound and acrylic on board with aluminum frame 121.2 x 91 cm. Provenance: Steve Turner Contemporary, Los Angeles. Private Collection, acquired from the above in 2015. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

377. Olli Lyytikäinen, ‘(Självporträtt i eldsvåda)’. Signed Olli Lyyt. and dated 13 I 1982. Pencil on paper 16 x 25.5 cm. Provenance: Björn Springfeldt Family Collection, Stockholm. Exhibitions: Nordiska Akvarellmuseet, Skärhamn, ‘Olli Lyytikäinen’, March 2 – May 4 2014. Ateneum, Helsinki, ‘Hommage Olli Lyytikäinen’, 8 October 2019 – 5 January 2020. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

ANTONY GORMLEY British artist Sir Antony Gormley (b. 1950, London) is one of the most distinguished artists of our present time. In his artistic practice he consistently examines the relationship between the human form and different aspects of human presence in relation to nature and architecture. To a wider audience he is perhaps most known for his enormous sculpture the Angel of the North, completed in 1998 and located on a piece of public land close to the city of Gateshead in England. The steel sculpture is twenty meters tall with its wings measuring 54 metres across. Its body is an enlarged cast of the artist’s own. After having gained a degree in art history, archaeology and anthropology Gormley travelled around India and Sri Lanka for three years. When he returned to the United Kingdom at the beginning of the 1970s he studied art at Central Saint Martins, Goldsmiths College and at the Slade School of Art. Gormley’s first artworks were inspired by his travels in Asia and by the possibility of creating private spaces within public ones. It is at this stage that he first created a cast of his own body. During the 1980s Gormley examined humanity in relation to the environment. Between the 1990s and the 2010s he placed life-size sculptures in both nature and urban environments. These settings amplified the fragility of the human form and reformulated the philosophical questions that Gormley’s sculptures provoked. In 1994 Gormley received the prestigious Turner Prize. From the 2010s Gormley has continued to call attention to the human body through a number of different approaches – some of these are based on earlier projects, but they have increasingly become more and more related to architecture. In his solitary sculptures, placed in crowded urban settings, he also reflects on human population growth and on the transformed physical and emotional environment we live in today. The piece in the auction STATION XIII forms part of the series STATION, executed by Gormley between 2013 and 2015. These pieces are not conventional sculptures and are defined as ‘human architecture’. They are like high–rise buildings with ‘vertical systems of energies’. The sculptures appear stable but are in fact fragile forms without symmetry. As engineering they are at the edge of what’s possible. The series is called STATION because they are static, they are frames made for spaces that bodies once occupied. Gormley writes that STATION is a meditation on what is happening to us when we live in a high–technological society in high–rise buildings, high above the ground. What if we no longer feel the earth? Perhaps the question is how stable or unstable we are? 379. Antony Gormley, ‘STATION XIII’. Signed AMDG and dated 2014. Unique. Cast iron 188 x 50 x 27 cm. (d) Estimate: SEK 3 500 000 – 4 000 000 / EUR 343 480 – 392 550

378. Yoko Ono, ‘Four Spoons’. Signed Yoko Ono and dated 67–88 on verso. Initated Y.O. 88. Edition 2/9. Bronze 19.5 x 19.5 x 3 cm. Provenance: Lilla Galleriet, Mariefred. Private Collection, Stockholm. Exhibitions: Lilla Galleriet, Mariefred, ‘Yoko Ono, The Bronze Age’, 1990. Literature: Roy Slade, Yoko Ono, ‘Yoko Ono, The Bronze Age’, illustrated fullpage p. 13.

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

379. Antony Gormley, ‘STATION XIII’. Signed AMDG and dated 2014. Cast iron 188 x 50 x 27 cm. Provenance: Galleri Andersson/Sandström, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 3 500 000 – 4 000 000 / EUR 343 480 – 392 550

380. Stephen Antonakos, ‘Red and blue incomplete circle’. Signed Antonakos and dated May 1975. Sketch on paper 73.7 x 58.7 cm. Light installation with neon 106.5 x 71.5 x 14 cm. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

381. KAWS, ‘Companion (Five Years Later) (Brown, Grey, Black)’. Stamped ‘MEDICOMTOY 2007 CHINA © KAWS.07’ on the underside. Executed in 2007. Painted vinyl, height 36 cm each. With original Medicom packaging. Fabricated by Medicom Toy, Japan. Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

382. Mike Bouchet, ‘Double Thousand Shine’. Signed Mike Bouchet and dated 2014 on verso. Oil on canvas 180 x 280 cm. Provenance: Peres Projects, Berlin. Private Collection, Stockholm.

Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

383. Fredrik Vaerslev, Untitled. Canvas 205 x 120 cm. Provenance: Gió Marconi, Milan. Private Collection, Stockholm. Exhibitions: Lumiar Cité, Lisbon, ‘Hey Aunt Maggie! I wanna become a painter! – Well, you can start with painting the fence!’, 23 January – 2 March 2014. (d)

Estimate: SEK 100 000 – 120 000 / EUR 9 820 – 11 780

N AT H A L I E D J U R B E R G & HANS BERG Nathalie Djurberg is one of Sweden’s most internationally sought–after artists. She is continuously working on new projects together with her partner of fifteen years, musician and composer Hans Berg, who makes all the music that accompanies her pieces. The relationship between humans, animals and forces of nature is the constant, vibrant theme that occupies their shared universe. Stop-motion animations using clay figures, spatial installations and sculptures form the foundation of their work. Worship was the first figurative video by Nathalie Djurberg and Hans Berg after their abstract Waterfall Variation which they made in 2014. After roughly a decade of the most diverse puppet videos, they needed to do something else for a while and went into abstraction. To have a different kind of aesthetic and to literally "cleanse their minds”. Since Nathalie Djurberg is a storyteller by nature, she had to eventually return to figuration and her characters and puppets. After that period of abstraction, Djurberg & Berg came out with Worship, a very colourful and

raunchy video reminiscent of MTV music videos from the late 90s (with a pimp whale as one of the main characters) and the complete opposite of the meditative, rather zen–like Waterfall Variation. It was wild, loud and very hip hop! The auction's sculpture Whale in Armchair was created for Djurberg and Berg’s project Worship. The video has been shown in various exhibitions, among them the Neuer Kunstverein in Vienna, the Moderna Museet, Stockholm, Mart in Rovereto and the Schirn in Frankfurt. "Worship" is also part of the Fondazione Prada's collection in Milan. In the 2017 summer edition of ArtReview Laura Smith reviewed the exhibition Who am I to Judge, or, It Must be Something Delicious at the Lisson Gallery in London: “… Worship (2016), the most explicit of the three works, explores the stereotypes and imagery associated with porn and sexual fetishisation. The eight-

minute video presents a pageant of silicone women and men, dressed in sequins, velour or silk, who perform different erotic acts: grinding against a giant banana, squeezing a pink inflatable doughnut, twerking with a Siamese cat, writhing with a giant sequined fish or a giant sequined ice–lolly or a gold and black motorbike or an aubergine on wheels… These figures strip, touch themselves and attempt to seduce the viewer, as a dark electropop score provides them with a rhythm to which to move. Morality is missing, to varying degrees, across these works, which feel like an adventure within human nature’s most capricious and animalistic impulses. The creeping, climactic structure of the videos and the unapologetic transgressions of the exhibition’s opening tableau make us very aware of our own desires. But when coupled with the homemade style of the figures, the works manage to retain a sense of humanity. And while the characters might commit vulgar or sadistic acts, their violence is often presented alongside shame, and their cruelty coexists with the material tenderness of their making. Thereby asking us to provide a level of com-

passion, or even knowing complicity, to/with their actions – and thus reaffirming the very morality that is so lacking to begin with.” Nathalie Djurberg & Hans Berg have been exhibited widely together in group shows, including the 53rd Venice Biennale, Italy in 2009. Their work is featured in a number of collections around the world, i.e. of Fondazione Prada, Milan; Goetz Collection, Munich; Hammer Museum, Los Angeles; Moderna Museet, Stockholm; Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York; Kunsthaus Zürich, Zürich; and Whitechapel, London, among others.

388. Nathalie Djurberg & Hans Berg, ‘Whale in Armchair’ from ‘Worship’. Signed certificate included in lot. Executed in 2016. Unique. Fabric, epoxy resin, silicone, wood, plasticine, wire, color, filling, pearls, metal, rotating platform 42 x 50 x 50 cm. Base included in lot, 110 x 30 x 30 cm. Total height 152 cm. (d) Estimate: SEK 600 000 – 800 000 / EUR 58 890 – 78 510

384. Terence Koh, ‘Grow Your Own Power’. Signed Terence Koh and dated 20 November 2019 on verso. Pencil on paper 75 x 53 cm. Provenance: Acquired from the artist.

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

385. Karin Mamma Andersson, Untitled. Signed Mamma Andersson and dated 2008. Mixed media on paper 62 x 50 cm. Provenance: Galleri Magnus Karlsson, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 150 000 – 170 000 / EUR 14 720 – 16 690

386. Gardar Eide Einarsson, ‘Untitled (Stance)’. Executed in 2008. Diptych, inkjet print on plywood 200 x 120 cm each. Provenance: Nils Staerk Contemporary Art, Copenhagen. NOCO Art Collection, Sweden. Private Collection, Stockholm. Literature: Göran Christensen, ‘NOCO – Nordic Contemporary Art Collection’, illustrated p. 47. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

387. Lara Schnitger, ‘Full Moon’. Executed in 2010. Fabric and acrylic paint on canvas 223 x 122 cm. Provenance: Stuart Shave/Modern Art, London. Private Collection, Stockholm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

388. Nathalie Djurberg & Hans Berg, ‘Whale in Armchair’ from ‘Worship’. Signed certificate included in lot. Executed in 2016. Unique. Fabric, epoxy resin, silicone, wood, plasticine, wire, color, filling, pearls, metal, rotating platform 42 x 50 x 50 cm. Base included in lot, 110 x 30 x 30 cm. Total height 152 cm.. Provenance: Gió Marconi, Milan. Private Collection, Stockholm. Literature: Lena Essling (ed.), Moderna Museet, Stockholm, ‘Djurberg & Berg’, 2018, illustrated from the film. (d)

Estimate: SEK 600 000 – 800 000 / EUR 58 890 – 78 510

389. Nathalie Djurberg & Hans Berg, ‘Worship’. Signed Nathalie Djurberg and Hans Berg. Executed in 2016. Animated film, Blue–ray HD and USB memory stick, 8:26 min. Edition 1/2 AP. Total edition 4 +2 AP. Original box 24 x 17 x 4.5 cm. Signed certificate included in lot. Provenance: Gió Marconi, Milan. Private Collection, Stockholm. Exhibitions: Neuer Kunstverein Vienna, ‘Nathalie Djurberg & Hans Berg, Worship’, 29 June – 29 July 2016. Lisson Gallery, London, ‘Nathalie Djurberg & Hans Berg: Who am I to Judge, or, It Must be Something Delicious’, 31 March – 6 May 2017. Moderna Museet, Stockholm, ‘A Journey Through Mud and Confusion with Small Glimpses of Air’, 16 June – 9 September 2018. Museum of Modern and Contemporary Art of Trento and Rovereto, Italy, ‘A Journey Through Mud and Confusion with Small Glimpses of Air’, 6 October 2018 – 27 January 2019. Schrin Kunsthalle, Frankfurt, ‘A Journey Through Mud and Confusion with Small Glimpses of Air’, 28 February – 26 May 2019. Literature: Lena Essling (ed.), Moderna Museet, Stockholm, ‘Djurberg & Berg’, 2018, illustrated. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 720 – 19 630

390. Nathalie Djurberg & Hans Berg, ‘Timbuktu’. Signed Nathalie Djurberg. Executed in 2007. Animated film, DVD, 4:39 min. Edition 2/4 +2 AP. Provenance: Upstairs Berlin, Berlin. Private Collection, Berlin. Exhibitions: Centre Pompidou, Paris, ‘Prospectif cinéma’, 2009. Stockholm School of Economics, Art Initiative screening. (d)

Estimate: SEK 150 000 – 200 000 / EUR 14 720 – 19 630

TOBY ZIEGLER Toby Ziegler (b. 1972, London) is a contemporary British artist working with painting and sculptures. Ziegler’s visual universe is Google, from which he sources the classic imagery, often historical paintings, he then digitally manipulates. He has been particularly inspired by, for example, photographs of the Freud family, Spanish still–life paintings, Dutch Old Masters and Nineteenth Century landscape paintings. With his computer Ziegler begins by processing the picture in various ways, eventually transferring the design onto an oxidised aluminium surface, to which he applies oil paint that he then brushes to achieve his desired effect.

from around 1630–1640. The piece is typical and highly representative of Ziegler’s artistic practice and the way in which he treats historical images.

The artwork in the auction, Carnival in Lent from 2016, references by its title Pieter Bruegel the Elder’s painting The Fight Between Carnival and Lent from 1559, and by its imagery Georges de la Tours’ The Flea Catcher,

403. Toby Ziegler, ‘Carnival in Lent’. Signed Toby Ziegler and dated 2016 on verso. Oil on aluminum 130 x 94.5 cm. (d) Estimate: SEK 125 000 – 150 000 / EUR 12 270 – 14 720

Today, the artist’s works are held in the collections of the Hudson Valley Center for Contemporary Art in Peekskill, NY, the Tate Gallery in London, the Francois Pinault Collection in Paris, the Fondation Louis Vuitton in Paris, Stavanger Kunstmuseum in Norway, among others. Ziegler has been wideley exhibitied around the world.

JACK PIERSON Jack Pierson is a multimedia artist best known for his photographs, collages and word. While studying at the Massachusetts College of Art in the 1980s, he became part of the ”Boston School” group. Other members of the group are Philip–Lorca diCorcia, Nan Goldin and Mike and Doug Starn (Starn Twins) among others. Pierson’s work is represented in many museum collections, including LACMA and MOCA in Los Angeles, Metropolitan Museum of Art, Whitney Museum and Guggenheim Museum New York.

ering evokes a sense of nostalgia, while the phrases are sourced from the contemporary vernacular – overheard in cafés and his daily commute, or borrowed from political aphorisms and advertising slogans – in works that defamiliarise everyday language. In the 1990s, Pierson primarily used slogans that were a melancholy reminder of the bygone Hollywood heyday, while his more recent works explore philosophical ideas. Concise and sometimes laconic, these works tap into the poetics of modern culture, using classical, literary and biblical quotations that evoke subtle associations for the viewer. They can be considered an American variant of concrete poetry, where language itself is represented through the skillful combination of word and material.”

Jack Pierson first began making his ”Word Sculptures” in 1991, utilizing found objects which the artist has assembled over many years. He collects abandoned signage from closed businesses, such as cinema marquees, casinos or storefronts, as well as road signs, neons and other cultural ephemera. In these works, Pierson often plays with subconscious, collective knowledge of proverbs, fairy-tales, song texts and literary clichés. 394. Jack Pierson, ‘Come On’. Pierson’s European gallery Thaddaeus Ropac has exhibited his Word Sculptures several times. The press-release for the exhibition in 2014 offers a well–versed introduction to his sculptures: ”The mid–century lett-

Signed Jack Pierson and dated 2003 on verso. Certificate issued by Roger Björkholmen Gallery included in lot. Metal and plastic letters. Ca 51 x 100 cm in total. Estimate: SEK 200 000 – 300 000 / EUR 19 630 – 29 440

391. Austin Lee, ‘Untitled’. Signed ALee and dated 2014 on verso. Spary paint on paper 35.5 x 28 cm. Provenance: Acquired from the artist by the present owner.

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

392. Leon Tarasewicz, ‘Untitled’. Signed Leon Tarasewicz and dated 1989 on verso. Canvas 130 x 190.6 cm. Provenance: Galerie Nordenhake, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 100 000 – 150 000 / EUR 9 820 – 14 720

393. Erró (Gudmundur Gudmundsson), Untitled. Signed Erró and dated 1995 on verso. Panel 33 x 25.5 cm. Provenance: Galleri Mölndal, Gothenburg. Private Collection, Stockholm. (d)

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

394. Jack Pierson, ‘Come On’. Signed Jack Pierson and dated 2003 on verso. Certificate issued by Roger Björkholmen Gallery included in lot. Metal and plastic letters. Ca 51 x 100 cm in total. Provenance: Roger Björkholmen Gallery, Stockholm. Private Collection, Stockholm. Exhibitions: Galleri Roger Björkholmen, Stockholm, ‘Jack Pierson’, 28 August – 4 October 2003.

Estimate: SEK 200 000 – 300 000 / EUR 19 630 – 29 440

395. Twan Janssen, ‘Untitled’. Signed on label on verso. Executed in 2002. Acrylic on canvas 70 x 50 cm. Provenance: Galleri Flach, Stockholm. Private Collection, Stockholm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

396. Alistair Frost, ‘I Took This…And Made This’. Signed Alistair Frost and dated 2011 on verso. Canvas 200 x 140 cm. Provenance: Acquired from the artist by the present owner. (d)

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

KARIN MAMMA ANDERSSON Karin Mamma Andersson takes the viewer on an odyssey, travelling beyond everyday realism and into parallel worlds where figures either inhabit or have just vacated dream–like rooms and landscapes. All of it might seem familiar, but look a little closer and you will see that things aren’t what they first appeared to be. Ann–Sofi Noring, then head of Art & Learning at Moderna Museet in Stockholm, wrote in the catalogue produced for Mamma Andersson’s 2007 solo show at the museum that: “Karin Mamma Andersson knows where she comes from. She is firmly rooted in one place, in one origin, and thus has the ability to travel with ease and a keen sense of observation to other destinations in both time and space.” Perhaps it is with a steady grip on reality that you might dare to travel farther. Perhaps you venture a little further still if, as an artist, you might then know where you’ve come from? Mamma Andersson’s work is unique and highly personal. It is grounded in the northern Swedish landscape and in a strong tradition of Nordic land scape painting, as well as in the figurative and Naïve art of her early 20th century predecessors. Her paintings elegantly demonstrate how the whole can become greater than the sum of its separate parts. It is in the synergy between past and present, between awareness and dream; it is in these encounters that her painterly worlds are born through a series of long retakes. They often have a melancholic trait – as if when faced with the paintings we remember something, a dream or a fragment of a memory flickering past so quickly that we don’t manage to grasp or define it. The painting in the auction, Grottekvarn [Treadmill], immediately sets your thoughts wandering. The imagery is otherworldly. Outside the windows a beautiful Northern landscape stretches out. If we look again we notice that four of the benches in the sterile room are being flooded. The water pouring out is creating individual little streams in the foreground of the painting. Despite the flooding the painting is imbued with calmness and forces you to stop – to breathe a little. In Nordic mythology Grótti is the world mill that grinds out gold and regulates the movements of the stars. The mill can also grind out peace and prosperity or war and doom. The Song of Grótti is included in the Poetic Edda and inspired the Swedish 19th century writer Viktor Rydberg to write “The New Grotti Song”, in protest against factory working conditions at that time. After having represented Sweden at the Venice Biennale in 2003, which gave Mamma Andersson her real media breakthrough, her work has been shown in numerous prestigious contexts internationally. She is one of the few Swedish artists represented by a gallery not only in Sweden but also in London and New York. The painting Grottekvarn [Treadmill] was chosen for the Carnegie Art Award in 2000. 397. Karin Mamma Andersson, ‘Treadmill’. Oil on panel 74 x 100 cm. (d) Estimate: SEK 800 000 – 1 000 000 / EUR 78 510 – 98 140

401. Olafur Eliasson, ‘Your blue expectations’. Signed certificate included in lot. Executed in 2015. Unique. 24 partially chromed crystal spheres, paint (blue, black), stainless steel, 92 x 92 x 14.5 cm, each sphere is 9 cm in diameter. (d) Estimate: SEK 1 200 000 – 1 500 000 / EUR 117 770 – 147 210

OLAFUR ELIASSON Olafur Eliasson is continuously in demand internationally, with several exhibitions running in parallel. In a short space of time he has established himself as one of the most sought-after artists in the world, showing his work at, for example, Tate Modern in London, at the Guggenheim Museum in New York, and at the Venice Biennale. He will soon be presenting a solo show at the distinguished Fondation Beyeler in Basel, Switzerland. Circles and spheres are consistent elements in Eliasson’s artistic practice. The piece in the auction, entitled Your blue expectations, is unique and consists of twenty–four partly chrome-covered crystal spheres in black and blue. Placed in a circle, each sphere is angled on its axis at about sixty degrees and rotated slightly in relation to the others. The clear–blue hemispheres turn to face the viewer and then away again. The artwork is optical, as multiple reflections of the viewer and the space shift depending on the light and the viewer’s position. Strikingly simple and singular at the same time, Eliasson’s work is about making us see, feel and think one step further. There is a weight and a beauty to his practice that places art in a special world where aesthetics and science form a wonderful alliance. The ideas are advanced, but the results are simple and playful. Olafur Eliasson is one of the most significant artists of our time. He is both innovative and provocatively effortless. At the same time he addresses, in a sophisticated manner, humanity’s most basic existence – in our bodies and in our world. Born in 1967 in Copenhagen to Icelandic parents, Eliasson is today working out of an enormous studio in Berlin, together with a team of around 100 people. Climate issues are close to his heart and in an artistic language, so characteristically his own, he lets us experience and question concepts of nature and the natural. In recent years he has become more politically engaged, using culture to make a difference. Few artists have had equally large public successes as Olafur Eliasson. In his art he simulates natural phenomenon such as mist and sunlight, like for example with the artificial sunset created for the Tate Modern’s Turbine

Hall, to which audiences flocked in 2003 and 2004. Eliasson’s works are intuitively simple, both in their materials and in the impression they make. The experience of the work is instant, yet behind a perceived simplicity lays highly technical advancement. In what is probably the most spectacular public artwork ever made, he had four waterfalls constructed and placed along the East River in New York. The piece, which could be experienced during a few summer months in 2008, is also the world’s most expensive public artwork to date. 2015 was the year when he exhibited at Moderna Museet in Stockholm. The year before he had had a major exhibition at Louisiana in Denmark entitled Riverbed, in which he literally moved Icelandic nature into the museum spaces. Eliasson’s focus is, however, not just on the large–scale and the grand. His profound interest in combining art and science has for Eliasson been channelled, through his work with the engineer Frederik Ottesen, into the solar–powered lamps Little Sun. These small, bright yellow lamps are like exclamation marks testifying to the possibility of art to break through the frame and turn ingrained perspectives upside down. There is a strong passion for social justice in Eliasson’s production, as well as the belief that art is capable of contributing to real change. The solar–powered lamps have been distributed to 1,2 million students, refugees, teachers and relief workers who have no access to electricity. Eliasson’s work is represented in many prestigious collections worldwide, including those of the Museum of Modern Art in New York; Tate Collection, London; San Francisco Museum of Modern Art, CA; Carnegie Museum of Art in Pittsburgh; The Art Institute of Chicago; Solomon R. Guggenheim Museum in New York; Astrup Fearnley Museum of Modern Art in Oslo; Moderna Museet in Stockholm; Hirshhorn Museum and Sculpture Garden in Washington D.C.; Leeum Samsung Museum of Art in Seoul, South Korea; Louisiana Museum of Modern Art in Humlebæk, Denmark; MIT List Visual Arts Center in Cambridge, Massachusetts; The Museum of Contemporary Art, Chicago; Walker Art Center in Minneapolis; Museum of Contemporary Art, Los Angeles; Dallas Museum of Art; and the Museum of Fine Arts, Houston.

397. Karin Mamma Andersson, ‘Treadmill’. Oil on panel 74 x 100 cm. Provenance: Carnegie Art Award 2000. Exhibitions: Carnegie Art Award 2000; Kunsthalle Helsinki, Finland, 13 – 29 October 2000. Henie Onstad Kunstsenter, Hövikodden, Norway, 10 November – 3 December 2000. Göteborgs Konstmuseum, Gothenburg, 9 December 2000 – 7 January 2001. Sophienholm, Lyngby, De(…) Literature: Ulrika Levén (editor), ‘Carnegie Art Award – Nordic Painting 2000’, 2000, reproduced on full page in colour on p 29. Moderna Museet exhibition catalogue, Ann–Sofi Noring (editor), ‘Mamma Andersson’, 2007, reproduced on full page in colour. (d)

Estimate: SEK 800 000 – 1 000 000 / EUR 78 510 – 98 140

398. James Brown, Untitled. Canvas 190 x 190 cm. Estimate: SEK 50 000 – 60 000 / EUR 4 910 – 5 890

399. Ken Lum, ‘Language Paintings’. Executed in 1987. Diptych. Enamel on plywood 183 x 242.5 cm. Provenance: Galleri Nordanstad–Skarstedt, Stockholm. Private Collection, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

400. Robert Rauschenberg, ‘Untitled’. Signed Rauschenberg and dated 1968. Watercolour, pencil and dye transfer on paper 46 x 37 cm. Provenance: Donald Morris Gallery, Birmingham Michigan. Xavier Hufkens, Brussels. (#RAUS–001–1968) Cheim and Read, New York. (CR#RA.6384) Private Collection, California. O’Hara Gallery, New York. Private Collection, Stockholm.

Estimate: SEK 500 000 – 600 000 / EUR 49 070 – 58 890

401. Olafur Eliasson, ‘Your blue expectations’. Signed certificate included in lot. Executed in 2015. Unique. 24 partially chromed crystal spheres, paint (blue, black), stainless steel, 92 x 92 x 14.5 cm, each sphere is 9 cm in diameter. Provenance: Tanya Bonakdar Gallery, New York. Private Collection, Stockholm. Acquired from the above in 2015. (d)

Estimate: SEK 1 200 000 – 1 500 000 / EUR 117 770 – 147 210

402. May Hands, ‘No 1 Rectangle Painting’. Signed May Hands and dated 2013 on verso. Polythene recycling bag mounted on wooden stretcher, foam pieces 69.5 x 50 cm. Provenance: Acquired from the artist by the present owner. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

403. Toby Ziegler, ‘Carnival in Lent’. Signed Toby Ziegler and dated 2016 on verso. Oil on aluminum 130 x 94.5 cm. Provenance: Simon Lee Gallery, London. Private Collection, acquired from the above in 2016. (d)

Estimate: SEK 125 000 – 150 000 / EUR 12 270 – 14 720

404. Alex Da Corte, ‘Buff Camo’. Executed in 2013. Cool Ranch Doritos bag, parts from inflatable camouflage araft, adhesive vinyl, enamel, tape, IKEA metal frame, 50.8 x 50.8 cm. Provenance: Acquired from the artist by the present owner.

Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

405. Olli Lyytikäinen, ‘Kiss à L’Américain’. Signed and dated 1981. Watercolour on paper 39 x 48.3 cm. Exhibitions: Nordiska Akvarellmuseet, Skärhamn, ‘Olli Lyytikäinen’, 2 March – 4 May 2014. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

406. Fredrik Vaerslev, ‘Drobak Blue #9’. Signed Fredrik Vaerslev and dated 2010 on verso. Painted wood, photography, paper 94 x 35.5 cm. Provenance: NOCO Art Collection, Sweden. Private Collection, Stockholm. Literature: Göran Christensen, ‘NOCO – Nordic Contemporary Art Collection’, illustrated p. 95. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

407. James Brown, ‘Grey Interior III’. Executed in 1986. Enamel and stain on canvas 198 x 230 cm. Provenance: Leo Castelli, New York. Private Collection, Sweden.

Estimate: SEK 70 000 – 80 000 / EUR 6 870 – 7 850

408. Oriano Galloni, Untitled. Signed. Marble ca 41 x 17 x 15 cm. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

DONALD BAECHLER Donald Baechler (b. 1956, USA) uses a childlike imagery in his paintings and sculptures and is regarded as one of the most interesting artists of our time. One of his many established gallerist’s Cheim & Reid describes his work: ”His repertoire of motifs is to be found disperse across different genres, starting from drawings and ending up as sculptures where, after a process of transformation, these motifs finally take on three– dimensional volume.” In an interview accompanied to the exhibition ”Sculptures” in 2005 at the Museum of Modern Art in Salzburg, Baechler had this to say: “About fifteen or twenty years ago I was very unhappy with the way I was drawing, and I decided, as a kind of project, to relearn how to draw from the beginning, from the very simplest gestures, to reinvent a vocabulary of lines and shapes. And I started looking at children’s art and art of the insane and the whole Dubuffet thing. So when I started doing sculptures, about ten years ago, I was looking again for a way to make forms as if I’d never made sculpture before. So I wanted to forget about armatures and about the proper way of using clay and the proper way of doing anything, and started just squeezing things with my hands, making shapes… So there really is no narrative intention; it’s just a response to materials. And they happen to look the way they do, because that’s the way they look. I think there’s even less content in the sculpture than in the paintings. Less narrative. I think they’re kind of mute… I’m interested in discreet and very mute objects, and I’ve never really been interested in narrative or psychology or these things which many people read into my paintings and probably into the sculptures.” 409. Donald Baechler, ‘Stading Figure’. Executed in 1997. Bronze, height ca 83 cm. Granite base ca 10.5 x 61.5 x 51 cm. Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

409. Donald Baechler, ‘Stading Figure’. Executed in 1997. Bronze, height ca 83 cm. Granite base ca 10.5 x 61.5 x 51 cm. Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm.

Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

410. Donald Baechler, ‘The Myth of Structure’. Signed DB and dated 2003 on verso. Canvas 183 x 122 cm. Provenance: Lars Bohman Gallery, Stockholm. Private Collection, Stockholm.

Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

411. Matthias Weischer, ‘Schleife’. Signed M. Weischer and dated 2010 on verso. Canvas 190 x 110.5 cm. Provenance: Galerie Eigen + Art, Leipzig/Berlin. Private Collection, The Netherlands. (d)

Estimate: SEK 60 000 – 80 000 / EUR 5 890 – 7 850

412. Wilhelm Mundt, ‘Trashstone 519’. Production waste in fibre glass 99 x 55 x 50 cm. Unique. Provenance: Galleri Andersson/Sandström, Stockholm. Private Collection, Stockholm. Exhibitions: Galleri Andersson/Sandström, Stockholm, ‘New Sculptures’, 31 March – 8 May 2011. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 820 – 12 270

413. Ryan Estep, ‘Sterilized Dirt B6’. Signed R Estep and dated 2014 on verso. Canvas 213 x 152 cm. Provenance: Gerber Stauffer Fine Arts, Zürich. Private Collection, Stockholm.

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

414. Karin Davie, ‘Interior Ghosts #14’. Signed Davie and dated 2002 on verso. Canvas 122 x 152.5 cm. Provenance: Wetterling Gallery, Stockholm. Private Collection, Stockholm.

Estimate: SEK 120 000 – 150 000 / EUR 11 780 – 14 720

415. Nicholas Deshayes, ‘Seabums (b)’. Executed in 2012. Anodised aluminium, vacuum formed plastic 110 x 71 cm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

416. Koen Vanmechelen, ‘Walking egg’. Marked KV on metal ring on the leg, total edition of 20, executed in 1998. Manufactured by Berengo Studio, Murano. Glass and metal, height ca 55 cm, width ca 93 cm, depth 36 cm. Provenance: Acquired by the present owner at Berengo Studio, Murano, Venice, 13th of March, year 2000. (d)

Estimate: SEK 40 000 – 50 000 / EUR 3 930 – 4 910

417. Jason Matthew Lee, ‘BRUTEFORCEPHREAK: thud’. Executed in 2015. Welded payphones, magnets, payphone dust, duct tape, small mammal trap, thud magazine. 53 x 20 x 30 cm. Provenance: Carl Kostyál, Stockholm. Private Collection, Stockholm. Exhibitions: Carl Kostyál, ‘Malmö Sessions’, 18 May – 16 June 2019.

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

418. Michael Pybus, ‘Nurse Painting’. Signed Michael Pybus and dated 2016 on verso. Acrylic on aluminum particle paint on canvas 150 x 120 cm. Provenance: Acquired from the artist by the present owner. Exhibitions: Carl Kostyál, Stockholm, ‘Michael Pybus’, 7 April – 15 May 2016. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

419. Bernard Schultze, ‘I Migof–snår’. Executed in 1970. Mixed media and wire on canvas, mounted in plexiglass box 33 x 39 x 12 cm. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

420. Sergei Bugaev–Afrika, Untitled.

421. Sergei Bugaev–Afrika, ‘FRONTIERS’.

Signed. Panel 39.3 x 77 cm.

Fabric 128 x 78 cm.

Provenance: Private Collection, Sweden. (d)

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

422. Sergei Bugaev–Afrika, Untitled.

423. Donald Baechler, ‘Tangram’.

Signed Afrika and dated 88. Fabric 131 x 78 cm. Provenance: Private Collection, Sweden. (d)

The complete portfolio with 8 aquatint etchings. Each signed and numbered 21/34. Published by Baron/Boisanté, printed by Harland & Weaver, New York, 1990. Each P: 28 x 21.5 cm. S: 66.5 x 48.5 cm.

Estimate: SEK 12 000 – 15 000 / EUR 1 180 – 1 480

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

423A. Banksy, ‘Napalm’. Screenprint, 2004, numbered in pencil 163/500. Published by Pictures on Walls with their blind stamp. 37 x 58 cm. A certificate issued by Pest Control accompanies the lot. (d)

Estimate: SEK 300 000 – 400 000 / EUR 29 440 – 39 260

424. Christo & Jeanne–Claude, ‘Ten million oil drums wall, project for the Suez Canal’. Screenprint in colours 1972, signed in pencil and numbered 55/70, printed by Hans–Peter Haas, Stuttgart, published by Fischer Fine Art, London. 69,5 x 54,5 cm. Literature: Schellmann/Benecke 56.

Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 970

425. Christo & Jeanne–Claude, ‘Ten million oil drums wall, project for the Suez Canal’. Screenprint in colours 1972, signed in pencil and numbered 55/70, printed by Hans–Peter Haas, Stuttgart, published by Fischer Fine Art, London. 69,5 x 54,5 cm. Literature: Schellmann/Benecke 57.

Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 970

426. Christo & Jeanne–Claude, ‘Ten million oil drums wall, project for the Suez Canal’. Silkscreen in colours 1972, signed in pencil and numbered 55/70, printed by Hans–Peter Haas, Stuttgart, published by Fischer Fine Art, London. 69,5 x 54,5 cm. Literature: Schellmann/Benecke 58.

Estimate: SEK 18 000 – 20 000 / EUR 1 770 – 1 970

427. Christo & Jeanne–Claude, ‘The Gates, Central Park, New York’. Offset in colours, with a collage of fabric, 2013, signed i pencil. S: 69 x 100.5 cm. Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

428. Christo & Jeanne–Claude, ‘Wrapped Trees – Project for the Avenue des Champs–Elysées, Paris’. Lithograph in color with collage consisting of transparent polyethylene, wire and staples, and with details in felt–tip pen, 1987, signed in pencil 172/200, printed by Landfall Press, Chicago, published by Torsten Lilja, Stockholm. 71 x 56.5 cm (Arches). Literature: Schellmann/Benecke 133.

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

429. Christo & Jeanne–Claude, ‘Orange Store Front, project’. Offset with collage in textile, metal and paper, 1991. Signed Christo and numbered 9/100. Published by Leif Holmer Gallery/Claes Disther Gallery. 70 x 81 cm including plexi glass box. Estimate: SEK 70 000 – 80 000 / EUR 6 870 – 7 850

430. Christo & Jeanne–Claude, ‘Package on Handtruck, Project’. Lithograph in color with collage of brown canvas, twine, and staples. Signed and numbered 23/100, dated 1981. Printed by Landfall Press, Chicago, published by Abrams Original Editions, New York. 71 x 56,5 cm. Literature: Schellmann 108.

Estimate: SEK 70 000 – 80 000 / EUR 6 870 – 7 850

431. Christo & Jeanne–Claude, ‘The Ponte Sant’Angelo, Wrapped, Project for Rome’. Lithograph with collage of broadcloth, thread, offset print and city map, with additions of charcoal and prismacolour, 1989. Signed and numbered AP XIX/XXX. Published by Torsten Lilja, Stockholm. 71 x 55.5 cm. Estimate: SEK 100 000 – 125 000 / EUR 9 820 – 12 270

432. Jim Dine, ‘Wall chart II’. Lithograph in colours, 1974, signed in pencil and numbered 47/75, published by Petersburg Press, London. L. 107 x 76.2 cm. S. 123 x 88.5 cm. Literature: Krens/Williams College 167.

Estimate: SEK 50 000 – 70 000 / EUR 4 910 – 6 870

433. Günter Förg, ‘Linien I’. The complete portfolio with 16 colour aquatints, 1988. All signed, dated and numbered 5/20. S: 53 x 38 cm each (Lana Gravure). Printed by Thomas Sebening, München and published by Gisela Capitain, Cologne. (d)

Estimate: SEK 100 000 – 125 000 / EUR 9 820 – 12 270

434. Damien Hirst, ‘Sandwich’, from: ‘The Last Supper’. Silkscreen in colours, 1999, signed in pencil (edition 150), published by Paragon Press. L. 150 x 86 cm. S. 153,5 x 101,5 cm. (d)

Estimate: SEK 40 000 – 60 000 / EUR 3 930 – 5 890

435. David Hockney (After), ‘Corbusier Chair and Rug’. Offset colour lithograph, 1969, signed proof of the poster for an exhibition at Andre Emmerich, New York; S: 67.5 x 55 cm. Literature: Baggott 22. (d)

Estimate: SEK 15 000 – 20 000 / EUR 1 480 – 1 970

436. David Hockney, ‘Henry seated with tulips’. Lithograph 1976, on Arches paper, signed in pencil and numbered 36/90, published by Gemini G.E.L., and with their blind stamp. S. 106 x 75,5 cm. Literature: Scottish Arts Council 187. (d)

Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

437. David Hockney, ‘Henry at table’. Lithograph 1976, on Arches paper, signed in pencil and numbered 36/90, published by Gemini G.E.L., and with their blind stamp. S. 75,5 x 106 cm. Provenance: Björn Bengtsson Gallery, 1976. Literature: Scottish Arts Council 188. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

438. David Hockney, ‘Brooke Hopper’. Litograph, 1976, signed and dated in pencil 42/92, published by Gemini G.E.L., and with their blindstamp. S. 96,5 x 71,5 cm. Literature: Scottish Arts Council 177. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

439. David Hockney, ‘Contrejour in the French Style’.

440. David Hockney, ‘Two vases in the Louvre’.

Etching and aquatint in colors, on Inveresk mould–made paper, with full margins, 1974, signed and numbered 46/75. I: 74 x 73,5 cm. S: 99 x 91.

Aquatint and soft ground etching in colours, 1974, signed in pencil and numbered 2/75, published by Petersburg Press, New York. P. 74 x 74 cm. S. 99,5 x 92 cm.

Literature: Scottish Arts Council 167. Museum of Contemporary Art Tokyo 153. (d)

Estimate: SEK 150 000 – 175 000 / EUR 14 720 – 17 180

441. Jasper Johns, ‘Periscope l’. Lithograph, 1979. Signed, dated and numbered 60/65. 127 x 91.5 cm (Japanese Kurotani paper). Published by Gemini G.E.L., Los Angeles.

Literature: Scottish Arts Council 168. (d)

Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

441A. Eddie Martinez ‘MMXX’ from: ‘More Drawings’.

Literature: Gemini G.E.L. 840. Universal Limited Art Editions 200.

Silkscreen in black and white with handpainted oil, 2020. Signed and dated,numbered 5/25 (from an edition of 25 + 10 AP, all with unique colouring). 17 x 22 cm (Munken Print White).

Estimate: SEK 100 000 – 125 000 / EUR 9 820 – 12 270

Estimate: SEK 60 000 – 70 000 / EUR 5 890 – 6 870

441B. Eddie Martinez ‘Blockheads for Detroit’. Silkscreen, oil, spray paint and mixed media, 2019. Signed and dated, numbered 19/20 (from the edition of 20 unique hand colouring). 76 x 51 cm (100% cotton paper). Estimate: SEK 140 000 – 170 000 / EUR 13 740 – 16 690

442. Robert Rauschenberg, ‘Rookery Mounds – Night Tork’. Lithograph in colours, 1979. Signed and numbered 46/50. 104 x 78.7 cm. Published by Gemini G.E.L., Los Angeles (with their blindstamps). Estimate: SEK 20 000 – 25 000 / EUR 1 970 – 2 460

443. Robert Rauschenberg, ‘Cardbird Box II, from Cardbird series’. Offset litograph in colours on paper, cardboard and wood, signed in pencil, dated and numbered 12/20 + 6 AP, published by Gemini G.E.L, Los Angeles. 40 x 40 x 8.5 cm. Provenance: Galleri Mårtenson & Persson, Stockholm. Private Collection, Stockholm. Literature: Gemini Publication Sequence Number 561.

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

444. Robert Rauschenberg, ‘Bellini#1’. Intaglio with photogravure printed in colors, 1986, signed in pencil, dated, numbered 34/36, on Arches paper, with the blindstamp of the publisher, ULAE, West Islip. S: 148,5 x 96.1 cm. Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

445. Robert Rauschenberg, ‘Sling–Shots lit #8, Black State’. Three Mylar screenprints backed with sailcloth and mounted on a wooden lightbox. Executed in 1985, signature and date incised into metal plate 20/25, from the Sling–Shots Lit series, published by Gemini G.E.L., Los Angeles. Prints 189 x 134 cm. Light box 215 x 143 x 32 cm. Provenance: Bistborno Gallery, Malmö. Exhibitions: Bistborno Gallery, Malmö.

Estimate: SEK 100 000 – 150 000 / EUR 9 820 – 14 720

446. Susan Rothenberg, ‘Boneman’. Mezzotint on wood veneer paper. Signed and numbered 10/42, dated 1986. Published and printed by Gemini G.E.L., Los Angeles. 76 x 51 cm. Literature: Gemini G.E.L 1283; Rachel Robertson Maxwell 31.

Estimate: SEK 30 000 – 40 000 / EUR 2 950 – 3 930

447. Benjamin Spiers, ‘Double Infinity’. Digital screenprint, 2019, signed in pencil A/P 1/5. I: 43 x 45 cm. S: 61 x 61.5 cm. Total edition 75 + 5 AP. Provenance: Private Collection, Stockholm. (d)

Estimate: SEK 8 000 – 10 000 / EUR 790 – 990

448. Andy Warhol, from: ‘In the bottom of my garden’. Hand coloured offsetlithograph. 1955–56. signed in black ink by the artist’s mother Julia Warhola. Ca 21 x 27 cm. Literature: Feldman IV.100.

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 2 950

449. Andy Warhol, ‘Frölunda Hockey Player’. Unique screenprint in colours, on Lenox Museum Board, 1986. Signed by Frederick W. Hughes, (Executor of the Estate of Andy Warhol) and numbered T.P. 7/14 in pencil on a stamped Certificate of Authenticity on the reverse (one of 14 unique colour trial proofs, before the edition of 100 and 20 artist’s proofs), published by Art Now Gallery, Göteborg, Sweden, framed. S: 101.6 x 81.4 cm. Literature: Feldman–Schellmann 202.

Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

450. Andy Warhol, ‘The Nun’, from; ‘Three portraits of Ingrid Bergman’. Silkscreen in colours, 1983, signed in pencil and numbered 240/250, printed by Rupert Jasen Smith, New York, published by Galerie Börjeson, Malmö. I./S. 96,5 x 96,5 cm. Literature: Feldman II. 314.

Estimate: SEK 250 000 – 300 000 / EUR 24 540 – 29 440

451. Andy Warhol, ‘Mao’. Silkscreen printed in colours, 1972, signed with ball point pen and numbered with rubber stamp 207/250 on verso, printed by Styria Studio, Inc., New York, published by Castelli Graphics and Multiples, Inc., New York. I./S. 90,5 x 90,5 cm. Literature: Feldman II. 94.

Estimate: SEK 300 000 – 400 000 / EUR 29 440 – 39 260

452. Andy Warhol, ‘Indian Head Nickel’, from: ‘Cowboys & Indians’. Silkscreen printed in colours, 1986, signed in pencil and numbered 28/250, printed by Rupert Jasen Smith, New York, published by Gaultney, Klineman Art, Inc., New York. S. 91.5 x 91.5 cm. Literature: Feldman II. 385.

Estimate: SEK 400 000 – 500 000/ EUR 39 260 – 49 070

453. Tom Wesselmann, ‘Bedroom blonde doodle with photo’. Silkscreen in colours, 1986–88, on museum board, signed in pencil and numbered 89/100, published by International Images, Inc. (blind stamp; Screened Images). 143 x 169 cm. Estimate: SEK 80 000 – 100 000 / EUR 7 850 – 9 820

454. Christopher Wool, ‘Black Book’. Illustrated book with 17 offset lithographs, 1989, numbered 75/350. Published by Gisela Capitain, Cologne, Thea Westreich, New York and printed by Karen Davidson, New York. Page 57 x 40 cm (each). Estimate: SEK 200 000 – 250 000 / EUR 19 630 – 24 540

455. Gunnel Wåhlstrand, ‘Biblioteket’. Photogravure. 2010. Signed and numbered 2/15. 28 x 38 cm. 58 x 77 cm. Provenance: Andréhn–Schiptjenko, Stockholm. (d)

Estimate: SEK 35 000 – 40 000 / EUR 3 440 – 3 930

455A. Daniel Arsham ‘Eroded Sweatshirt’. Porcelain and electricity, 2019, signed and numbered 135/150 on certificate (froman edition of 150 + 20 A.P. Published by Case Studyo. Height 31 cm. Comes with original box. (d)

Estimate: SEK 25 000 – 30 000 / EUR 2 460 – 3 930

Upcoming auctions Spring 2021

Contemporary Art & Design

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Stockholm Viewing April 15–19 Auction April 20

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Bukowskis | Contemporary Art & Design | No 631 | April 2021

Articles inside

Bukowskis | Contemporary Art & Design | Linn Fernström - Girl with Balloons

Bukowskis | Contemporary Art & Design | No 631 | April 2021 |DAWID

Bukowskis | Contemporary Art & Design | No 631 | April 2021 |Andreas Eriksson

Bukowskis | Contemporary Art & Design | No 631 | April 2021| Jack Pierson

DONALD BAECHLER

Bukowskis | Contemporary Art & Design | No 631 | April 2021 |Karin Broos

Bukowskis | Contemporary Art & Design |Nathalie Djurberg & Hans Berg

Bukowskis | Contemporary Art & Design | No 631 | April 2021|Heikki Marila

Bukowskis | Contemporary Art & Design | No 631 | April 2021 |Maria Friberg