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Mollbrinks stand no. G12
Phone no. +46 708277103
Tuesday 21st January:
N.Y.C. LEGEND
N.Y.C. LEGEND
”Oda a Joan Miró"
”Le Soleil Ébouillanté"
1893-1983
1968
Etching, aquatint in colors, carborundum.
Image: 98,8x59,5,cm.
Edition: 75
Printed by Atelier Maeght, Saint-Paul. Published by Maeght Éditeur, Paris
Hand signed and numbered.
Literature: Dupin no. 518
”Bon Voyage (Be prepaird)"
This painting has a strong ecological message
"Impossible Figure"
Watercolor and india ink on paper
"Impossible Figure"
Colored pencil and india ink on Washi (Japanese paper)
1904-1989
Date: conceived in 1979, first cast in 1984
Height: 38,5 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: green
Maquette: original gouache, ʺDance of Timeʺ, 1979
Descharnes References: Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 248 ref. 639
This sculpture is accompanied by an official Certificate of Authenticity.
In addition to the above Certificate of Authenticity, each sculpture is accompanied with a Foundry Certificate issued by Perseo Art Foundry
The melting clock is the most recognizable Dalinian image and the artist chose to portray it consistently throughout his lifetime. Dalí became obsessed with the concept of time and used the melted watch image in many of his works.
Dalí brings to this sculpture a dynamism, where the clock appears to be literally “dancing”. Unrestrained by the rigid laws of a watch, time, for Dalí, moves to the rhythm of a perpetual dance, speeding up, slowly down, stretching out, liquefying.
The clocks illustrate an important theme in Dalí’s art;the contrast between the hard and the soft, a central preoccupation of the artist.
Dalí flips reality, taking the familiar image of a watch which is hard, solid and precise and inverts its characteristics. It is now the opposite, becoming soft, inaccurate, time bends to individual meanings. Again in this sculpture, the unexpected softness of the watch contrasts with the hardened sturdy tree trunk upon which the clock rests.
Some say that Dalí represents in his watches Albert Einstein’s theory of relativity of space and time; the dancing watch illustrating the concept of movement through time.
"Impossible Figure"
Colored pencil and india ink on Washi (Japanese paper)
1904-1989
Date: conceived in 1979, first cast in 1984
Height: 26,5 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: green
Maquette: original gouache, ʺDance of Timeʺ, 1979
Descharnes References: Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 248 ref. 638
This sculpture is accompanied by an official Certificate of Authenticity.
In addition to the above Certificate of Authenticity, each sculpture is accompanied with a Foundry Certificate issued by Perseo Art Foundry
The melting clock is the most recognizable Dalinian image and the artist chose to portray it consistently throughout his lifetime. Dalí became obsessed with the concept of time and used the melted watch image in many of his works.
Dalí brings to this sculpture a dynamism, where the clock appears to be literally “dancing”. Unrestrained by the rigid laws of a watch, time, for Dalí, moves to the rhythm of a perpetual dance, speeding up, slowly down, stretching out, liquefying.
The clocks illustrate an important theme in Dalí’s art;the contrast between the hard and the soft, a central preoccupation of the artist.
Dalí flips reality, taking the familiar image of a watch which is hard, solid and precise and inverts its characteristics. It is now the opposite, becoming soft, inaccurate, time bends to individual meanings. Again in this sculpture, the unexpected softness of the watch contrasts with the hardened sturdy tree trunk upon which the clock rests.
Some say that Dalí represents in his watches Albert Einstein’s theory of relativity of space and time; the dancing watch illustrating the concept of movement through time.
"Vénus à la Girafe"
"The will o' the wisps are in town"
1904-1989
Date: conceived in 1979, first cast in 1984
Height: 38,5 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: green
Maquette: original gouache, ʺDance of Timeʺ, 1979
Descharnes References: Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 248 ref. 639
This sculpture is accompanied by an official Certificate of Authenticity.
In addition to the above Certificate of Authenticity, each sculpture is accompanied with a Foundry Certificate issued by Perseo Art Foundry
The melting clock is the most recognizable Dalinian image and the artist chose to portray it consistently throughout his lifetime. Dalí became obsessed with the concept of time and used the melted watch image in many of his works.
Dalí brings to this sculpture a dynamism, where the clock appears to be literally “dancing”. Unrestrained by the rigid laws of a watch, time, for Dalí, moves to the rhythm of a perpetual dance, speeding up, slowly down, stretching out, liquefying.
The clocks illustrate an important theme in Dalí’s art;the contrast between the hard and the soft, a central preoccupation of the artist.
Dalí flips reality, taking the familiar image of a watch which is hard, solid and precise and inverts its characteristics. It is now the opposite, becoming soft, inaccurate, time bends to individual meanings. Again in this sculpture, the unexpected softness of the watch contrasts with the hardened sturdy tree trunk upon which the clock rests.
Some say that Dalí represents in his watches Albert Einstein’s theory of relativity of space and time; the dancing watch illustrating the concept of movement through time.
"Marsipan"
1904-1989
Date: conceived in 1979, first cast in 1984
Height: 26,5 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: green
Maquette: original gouache, ʺDance of Timeʺ, 1979
Descharnes References: Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 248 ref. 638
This sculpture is accompanied by an official Certificate of Authenticity.
In addition to the above Certificate of Authenticity, each sculpture is accompanied with a Foundry Certificate issued by Perseo Art Foundry
The melting clock is the most recognizable Dalinian image and the artist chose to portray it consistently throughout his lifetime. Dalí became obsessed with the concept of time and used the melted watch image in many of his works.
Dalí brings to this sculpture a dynamism, where the clock appears to be literally “dancing”. Unrestrained by the rigid laws of a watch, time, for Dalí, moves to the rhythm of a perpetual dance, speeding up, slowly down, stretching out, liquefying.
The clocks illustrate an important theme in Dalí’s art;the contrast between the hard and the soft, a central preoccupation of the artist.
Dalí flips reality, taking the familiar image of a watch which is hard, solid and precise and inverts its characteristics. It is now the opposite, becoming soft, inaccurate, time bends to individual meanings. Again in this sculpture, the unexpected softness of the watch contrasts with the hardened sturdy tree trunk upon which the clock rests.
Some say that Dalí represents in his watches Albert Einstein’s theory of relativity of space and time; the dancing watch illustrating the concept of movement through time.
”Paysan au bouquet"
1887-1985
Etching, 1967
Signed and numbered, edition 35.
Image: 30,5x24,5 cm.
Reference: Cramer no. 12
”Le Soleil Ébouillanté"
”Quevedo's Visions"
1904 - 1989
1975
Complete portfolio
Complete portfolio with six dry point colored with stencil, 1975, all signed in pencil, printed by Ateliers Rigal, Fontenay-aux-Roses, published by Galerie Börjeson, Malmö.
Editon: 300
Plate: 52.4 x 36.5 cm.
Leaf: 65.8 x 50 cm. (Arches).
LITERATURE:
Field 75-5.
Michler/Löpsinger 766a-771a.
from ”Quevedo's Visions"
from ”Quevedo's Visions"
from ”Quevedo's Visions"
"Fred"
"Spotty"
"Hero"
from ”Quevedo's Visions"
from ”Quevedo's Visions"
from ”Quevedo's Visions"
"Space Elephant"
"Dance of Time I"
1904-1989
Date: conceived in 1979, first cast in 1984
Height: 38,5 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: green
Maquette: original gouache, ʺDance of Timeʺ, 1979
Descharnes References: Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 248 ref. 639
This sculpture is accompanied by an official Certificate of Authenticity.
In addition to the above Certificate of Authenticity, each sculpture is accompanied with a Foundry Certificate issued by Perseo Art Foundry
The melting clock is the most recognizable Dalinian image and the artist chose to portray it consistently throughout his lifetime. Dalí became obsessed with the concept of time and used the melted watch image in many of his works.
Dalí brings to this sculpture a dynamism, where the clock appears to be literally “dancing”. Unrestrained by the rigid laws of a watch, time, for Dalí, moves to the rhythm of a perpetual dance, speeding up, slowly down, stretching out, liquefying.
The clocks illustrate an important theme in Dalí’s art;the contrast between the hard and the soft, a central preoccupation of the artist.
Dalí flips reality, taking the familiar image of a watch which is hard, solid and precise and inverts its characteristics. It is now the opposite, becoming soft, inaccurate, time bends to individual meanings. Again in this sculpture, the unexpected softness of the watch contrasts with the hardened sturdy tree trunk upon which the clock rests.
Some say that Dalí represents in his watches Albert Einstein’s theory of relativity of space and time; the dancing watch illustrating the concept of movement through time.
"Dance of Time III"
1904-1989
Date: conceived in 1979, first cast in 1984
Height: 26,5 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: green
Maquette: original gouache, ʺDance of Timeʺ, 1979
Descharnes References: Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 248 ref. 638
This sculpture is accompanied by an official Certificate of Authenticity.
In addition to the above Certificate of Authenticity, each sculpture is accompanied with a Foundry Certificate issued by Perseo Art Foundry
The melting clock is the most recognizable Dalinian image and the artist chose to portray it consistently throughout his lifetime. Dalí became obsessed with the concept of time and used the melted watch image in many of his works.
Dalí brings to this sculpture a dynamism, where the clock appears to be literally “dancing”. Unrestrained by the rigid laws of a watch, time, for Dalí, moves to the rhythm of a perpetual dance, speeding up, slowly down, stretching out, liquefying.
The clocks illustrate an important theme in Dalí’s art;the contrast between the hard and the soft, a central preoccupation of the artist.
Dalí flips reality, taking the familiar image of a watch which is hard, solid and precise and inverts its characteristics. It is now the opposite, becoming soft, inaccurate, time bends to individual meanings. Again in this sculpture, the unexpected softness of the watch contrasts with the hardened sturdy tree trunk upon which the clock rests.
Some say that Dalí represents in his watches Albert Einstein’s theory of relativity of space and time; the dancing watch illustrating the concept of movement through time.
"N.Y.C. LEGEND"
"Hybrid Speciation No. II - London"
"Rain is in the air"
oil on canvas
50x60 cm
"Air Ballloons"
oil on canvas
135x90 cm
"(Like) Fish out of Water"
-Fish-out-of-water-50x50-cm-1600.jpg)
oil on canvas
50x50 cm
"The Juggler"
oil on canvas
70x60 cm
"Make your voice heard"
oil on canvas
40x90 cm
"Sideeffects"
oil on canvas
40x90 cm
"Intermission"
oil on canvas
40x90 cm
"Flying colors"
oil on canvas
60x50 cm
"Think outside the box"
oil on canvas
60x50 cm
"The Butterfly Effect"
oil on canvas
50x40 cm
"Chrome Pink-Red"
Bronze, Uniqe
approx. 26 cm high
"Purple splash"
Bronze, Uniqe
approx. 26 cm high
"Blue Copper Chrome"
Bronze, Uniqe
approx. 26 cm high
"Portal"
1977
2022
Pigment print, 70x52 cm
Edition 10
Artist bio:
Born in Stockholm, Sweden 1977, Alexander has studied with various painters in Sweden and USA. He has been making a living as a painter from the age of 22 and has exhibited his work in various parts of USA and Europe. Collectors come from USA, UK, Germany, France, Portugal, Spain, Mexico, Sweden, Switzerland, Italy and Norway.
"Cluster III - Drifters"
1977
2022
Pigment print, 70x52 cm
Edition 10
Sleep Visions series were created in London in 2020 and 2021, the years we will all remember as the pandemic years. The empty streets of Fulham, Chelsea and Kensington became an arena for my imagination of nature reconquering the city.
I moved to London in 2019 after spending eleven years on Manhattan. Before I got to know my new hometown, London was in full lock-down and I was sick with Covid19, isolated in my studio throughout March 2020. Whilst I was ill and physically restricted, I dreamed not only about London, but also about places that lie close to my heart. Especially Stockholm and New York, two cities which have shaped me in many ways. The jungles and seas of South and Central America appeared in my mind as well; Peru, Mexico and Costa Rica are countries I have returned to in my travels over the past ten years to gather inspiration. I have always been attracted to diversity, whether it is cultural diversity or biodiversity. Monocultures are never interesting. Large cities often have a richly diversified cultural and intellectual offer. Jungles and the sea are environments filled with beauty, intrigue and complexity. The flora and fauna of these ecosystems offer a different kind of diversity and drama that never bores me. I thrive best when I spend my time divided between big cities and the tropics where life and death, happiness and suffering alternate at a high pace.
Our need for control over the earth’s resources and its devastating consequences is something that is being discussed more and more these days. In our collective consciousness, we have begun to understand the breadth of the complex challenges that lie ahead and how we must act. Some of these new paintings are interpretations of what has already happened; Ecosystems that are disturbed, our dependence on fossil fuels, etc. My wish is that these motifs become descriptions of a past world, tales we tell our children and grandchildren about a time we have left behind and replaced with a better reality where the earth’s diversity and beauty may still remain.
"Reflections"
1977
2022
Pigment print
54x49 cm
Edition 10
Sleep Visions series were created in London in 2020 and 2021, the years we will all remember as the pandemic years. The empty streets of Fulham, Chelsea and Kensington became an arena for my imagination of nature reconquering the city.
I moved to London in 2019 after spending eleven years on Manhattan. Before I got to know my new hometown, London was in full lock-down and I was sick with Covid19, isolated in my studio throughout March 2020. Whilst I was ill and physically restricted, I dreamed not only about London, but also about places that lie close to my heart. Especially Stockholm and New York, two cities which have shaped me in many ways. The jungles and seas of South and Central America appeared in my mind as well; Peru, Mexico and Costa Rica are countries I have returned to in my travels over the past ten years to gather inspiration. I have always been attracted to diversity, whether it is cultural diversity or biodiversity. Monocultures are never interesting. Large cities often have a richly diversified cultural and intellectual offer. Jungles and the sea are environments filled with beauty, intrigue and complexity. The flora and fauna of these ecosystems offer a different kind of diversity and drama that never bores me. I thrive best when I spend my time divided between big cities and the tropics where life and death, happiness and suffering alternate at a high pace.
Our need for control over the earth’s resources and its devastating consequences is something that is being discussed more and more these days. In our collective consciousness, we have begun to understand the breadth of the complex challenges that lie ahead and how we must act. Some of these new paintings are interpretations of what has already happened; Ecosystems that are disturbed, our dependence on fossil fuels, etc. My wish is that these motifs become descriptions of a past world, tales we tell our children and grandchildren about a time we have left behind and replaced with a better reality where the earth’s diversity and beauty may still remain.
"Underwater III - plastic free oceans"
1963
Oil on canvas
2022
93x120 cm
"Reconstructors II"
1977
Oil on canvas
85x200 cm
2021
"New York City Legend"
"Nude XLV"
1963
2021
Oil on canvas, 88x120 cm.
Artist bio:
I was born in Stockholm, Sweden. I studied in France in 1996-1997 under Beaux Arts teacher Christian Geai. Since 1988 I have regularly shown at exhibitions and worked with galleries in Sweden, Norway, Denmark, Germany and Monaco.
In 2001, I began an international collaboration with Opera Gallery, which has galleries in Paris, New York, Miami, London, Geneva, Singapore, Hong Kong and Dubai. I have exhibited at several of the joint exhibitions at Opera Gallery’s various galleries. I have since 2012 been represented in London by Albemarle Gallery and have regularly exhibited at the gallery´s exhibitions.
I have been represented in Sweden by Mollbrink’s Art Gallery since 2010, and the gallery has held 7 solo exhibitions of works by me, both in the gallery’s own premises in Uppsala and Kungshamn, and also on repeated occasions at the Grand Hôtel in Stockholm.
Mollbrinks Art Gallery also represents me at international art fairs and leading art fairs in Sweden, including the antiques fair in Älvsjö, and the leading Nordic art and antiques fair, Grand Antiques, in Stockholm.
"Drapped in Red"
1963
2020
Oil on canvas, 125x66 cm.
Artist bio:
I was born in Stockholm, Sweden. I studied in France in 1996-1997 under Beaux Arts teacher Christian Geai. Since 1988 I have regularly shown at exhibitions and worked with galleries in Sweden, Norway, Denmark, Germany and Monaco.
In 2001, I began an international collaboration with Opera Gallery, which has galleries in Paris, New York, Miami, London, Geneva, Singapore, Hong Kong and Dubai. I have exhibited at several of the joint exhibitions at Opera Gallery’s various galleries. I have since 2012 been represented in London by Albemarle Gallery and have regularly exhibited at the gallery´s exhibitions.
I have been represented in Sweden by Mollbrink’s Art Gallery since 2010, and the gallery has held 7 solo exhibitions of works by me, both in the gallery’s own premises in Uppsala and Kungshamn, and also on repeated occasions at the Grand Hôtel in Stockholm.
Mollbrinks Art Gallery also represents me at international art fairs and leading art fairs in Sweden, including the antiques fair in Älvsjö, and the leading Nordic art and antiques fair, Grand Antiques, in Stockholm.
"Face XII"
1963
2020/2021
Oil on canvas, 240x91 cm.
Artist bio:
I was born in Stockholm, Sweden. I studied in France in 1996-1997 under Beaux Arts teacher Christian Geai. Since 1988 I have regularly shown at exhibitions and worked with galleries in Sweden, Norway, Denmark, Germany and Monaco.
In 2001, I began an international collaboration with Opera Gallery, which has galleries in Paris, New York, Miami, London, Geneva, Singapore, Hong Kong and Dubai. I have exhibited at several of the joint exhibitions at Opera Gallery’s various galleries. I have since 2012 been represented in London by Albemarle Gallery and have regularly exhibited at the gallery´s exhibitions.
I have been represented in Sweden by Mollbrink’s Art Gallery since 2010, and the gallery has held 7 solo exhibitions of works by me, both in the gallery’s own premises in Uppsala and Kungshamn, and also on repeated occasions at the Grand Hôtel in Stockholm.
Mollbrinks Art Gallery also represents me at international art fairs and leading art fairs in Sweden, including the antiques fair in Älvsjö, and the leading Nordic art and antiques fair, Grand Antiques, in Stockholm.
"the Cousins"
1860-1920
"the Cousins"
Date: 1883, London
44,3x27,8 cm
Technique: etching
Edition size: 40
Signed by the artist
References: Asplund no. 7, Hjert & Hjert no. 7
This etching was executed by Anders Zorn in 1883 in his studio in London. The etching is made after his painting with same title that he painted the year before in Spain.
One of the two girls in this motif is the daughter of an art professor, Ramon Rodriguez, who lent Zorn a room in his apartment for him to stay and use as a studio. This period in Zorn’s life was important for his development and many of his most important early paintings were executed during his visit in Spain.
Zorn went back home, and home during the early 1880s was London and not Mora/Stockholm, Sweden. He had a very poor economy during this time and struggled to make ends meet. His close friend, Swedish artist Axel Herman Hägg, recommended him to sell his masterpiece “the Cousins” to make some money. But Zorn didn’t want to get rid of the painting. Hägg who was a master in the etching technique told Zorn to make an etching of this motif to be able to keep the etching and sell the painting. Zorn who had never made an etching told Hägg that he couldn’t do this. Hägg then convinced Zorn to study the technique and offered himself to help Zorn to learn the etching technique.
“the Cousins” was Zorn’s seventh attempted in the etching technique and the result was perfect. Zorn made in total 289 different etching motifs and he become one of the worlds most famous etcher.
“the Cousins” is the crown jewel in a Zorn etching collection. The print was made in 3 states and this copy is state no. 3, printed in 40 copies.
"Cigarettrökerska II"
1860-1920
"Cigarettrökerska II"
Date: 1891, Paris
15,9x12 cm
Technique: etching
Edition size: 5-15
Signed by the artist
References: Asplund no. 62
Zorn executed this etching, after his painting with same title, in 1891 in his studio in Paris.
This extremely rare etching is from the second state ( of two) printed in only 25 copies on a large paper with watermark consisting of a lily on a shield under a crown.
Signed "Zorn" on plate, lower left corner also signed by hand by the artist lower right corner, under image.
It’s not determined who the model for this motif was. However, there are unconfirmed data that it is Zorn’s dear friend Mary Smith who he met in London during his stay there in the 1880s. His portrait “Mary in my studio” (watercolor) from 1882-83 was executed in Zorn’s studio at Brook Street (no. 42) is a famous painting from his London period. The faces in the two portraits are strikingly similar.
"Axel Herman Hägg III"
1860-1920
"Axel Herman Hägg III"
Date: 1884, London
39x26,1 cm
Technique: etching
Edition size: 2-5
Stat/État 1 of 2
Signed by the artist
References: Asplund no. 15
Hägg was Zorn's teacher of etching techniques. Both artists were active in London in 1883.
This etching in first state (état 1) is a RARITY only printed in 2-5 copies.
"Last years model"
1960
2022
Pigment print, edt 50.
90x70 cm
Signed and numbered by the artist.
Frank on titles:
A good title should be like a ticket to a good journey.
The specific words in the title should give you clues and direction to where the painting is heading. Yes, of course, we have different backgrounds and therefore different references and experiences to words. But that only means the journey is different for all of us. The more you can read in to painting the longer ride you will get. Sometimes it never stops. Even though the image is the same…
The painting should have a literary quality. There should be a story, a thought that draws you in. Like the renaissance painters I like to use allegories or more modern icons to give hints and to lead you in. Into the inner landscape of the image.
And with a little luck, into yourself.”
About the artist's creations:
Frank paints in an idea world, where all the big questions exists. Politics, environment, sex, philosophy and so on.
Where and who we are and where are we going.
The painting goes where the idea takes it. Whichever it’s a still life, a landscape or portraying man, the idea rules.
He uses renaissance allegory’s, everyday objects and modern icons to give you clues where the painting is heading. Because it’s all a journey.
He paints in the surreal tradition with a modern twist.
As Frank says: You’ve got to honor your heroes.
That’s why he has a mind like Magritte and follows the painting technique of Dalí
"Gallows Humour"
1960
2022
Pigment print, edt 50.
90x70 cm
Signed and numbered by the artist.
Frank on titles:
A good title should be like a ticket to a good journey.
The specific words in the title should give you clues and direction to where the painting is heading. Yes, of course, we have different backgrounds and therefore different references and experiences to words. But that only means the journey is different for all of us. The more you can read in to painting the longer ride you will get. Sometimes it never stops. Even though the image is the same…
The painting should have a literary quality. There should be a story, a thought that draws you in. Like the renaissance painters I like to use allegories or more modern icons to give hints and to lead you in. Into the inner landscape of the image.
And with a little luck, into yourself.”
About the artist's creations:
Frank paints in an idea world, where all the big questions exists. Politics, environment, sex, philosophy and so on.
Where and who we are and where are we going.
The painting goes where the idea takes it. Whichever it’s a still life, a landscape or portraying man, the idea rules.
He uses renaissance allegory’s, everyday objects and modern icons to give you clues where the painting is heading. Because it’s all a journey.
He paints in the surreal tradition with a modern twist.
As Frank says: You’ve got to honor your heroes.
That’s why he has a mind like Magritte and follows the painting technique of Dalí
