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For mor information, please visit London Art Fair webpage.
Marc Chagall (1887-1985)
"Le bonheur du jeune couple aux fleurs"
gouache, India ink and pencil on paper, 51 x 33 cm
(1887-1985)
gouache, India ink and pencil on paper
51 x 33 cm
Executed in 1967
The authenticity of this work has been confirmed by the Comité Chagall.
Provenance:
- Heinz Berggruen & Cie, Paris (acquired from the artist by October 1968).
- Hokin Gallery, Inc., Chicago (acquired from the above by 1976).
- Private collection, California (acquired from the above in 1976).
- Gustfield-Glimer Galleries, Lt., Illinois.
- Private collection, United States.
- Swedish private collection. Acquired from the above.
“Le bonheur du jeune couple aux fleurs” fits comfortably within Chagall's somnambulistic aesthetic—a village bathed in soft moonlight; a bouquet with a diffident bird precariously perched atop; legless figures, merged at the waist, together underscore the uneasy ambiguity of this ethereal world.
Chagall’s kabalistic vision of romantic love transcends conventional sensuality. The woman is a voluptuous and enigmatic flame; the man an ascetic scholar. We feel at once, a static calm and a boiling romantic fervor. Chagall is an ingenious and inventive colorist, and Le bonheur du jeune exemplifies his extraordinary command of chromatic contrasts. The torrent of colors in the bouquet bursts forth from the staid but mysterious village. Although puzzles and obscure illusions abound: the stick figure couple on the roof of the red house, the slightly sinister horse and wagon in the foreground, the peculiar numerology along the lower figure’s side, there is no coherent emergent symbology. In the end, what excites us in this typical, but especially powerful, Chagall is color, form, and the fields of swirling movement that they create.
"Triumphant Angel"
1904-1989
Date: conceived in 1976, first cast in 1984
Height: 50 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: blue
Maquette: original drawing, ʺTriumphant Angelʺ, 1976
Descharnes References: Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 254 ref. 652
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
Religious imagery fascinated and intrigued Dalí throughout his lifetime. For Dalí, angels expressed grace, nobility and lightness. Dalí once said “nothing is more stimulating than the idea of an angel!”. The face and trumpet in the sculpture, echo the Cubist style pioneered by Pablo Picasso, who Dalí admired. It is interesting that Cubism and Surrealism co-exist in this sculpture.
From the 1940s, when Dalí began weaving strong religious themes into his artworks, angels appear frequently in his oeuvre. Dalí rejected his family’s Catholicism early in life, only to re-embrace it again in later years. For Dalí, angels represented divine awareness, purity, protection and illumination. The key element of the sculpture is the trumpet, it links heaven and earth, bringing and reflecting divine light.
The angel’s wings are in perfect equilibrium, referencing Dalí’s obsession with geometrical precision. This sculpture embodies Dalí’s idea of heavenly achievement and aspiration.
"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.
”Aurore à Saint-Paul"
1887-1985
Litograph in colour, 1968
Signed and numbered, edition 75.
Image: 56x38 cm.
Paper: 75x51 cm.
Reference: Mourlot 548
”Pantomime"
1887-1985
Litograph in colour, 1972
Editor: Maeght, Paris
Signed and numbered, edition 50.
Image: 39x30,5 cm.
Paper: 66x49,5 cm. (Arches)
Reference: Mourlot 649
”Le Violoncelle"
1887-1985
Litograph in colour, 1976
Editor: Maeght, Paris
Signed and numbered, edition 50.
Image: 32x25 cm.
Paper: 50x40 cm.
Reference: Mourlot 897
"Hybrid Speciation No. I - New York City"
1977
Bronze, 24,5x13x16 cm
Edition: 12
Executed in 2020/2021.
Foundry: Perseo SA, Fonderie d'art, Mendrisio, Switzerland.
In the scientific world, Hybrid Speciation is the term used to describe two species merging to form a new species. This phenomenon is the founding idea for my first bronze sculpture. After spending a decade in New York City, I felt I was becoming a part of the place; I started to appreciate the rats in Chinatown, the garbage on the streets of Union Square, and the numbers of odd smells that drift through the streets of Manhattan. My sense of belonging to the city became a sensation of merging with the urban environment I inhabited. Globally, more and more people live in cities, fusing with the human made metropolises. The age we live in is often defined as the period of Anthropocene – the time during which human activities have impacted the environment enough to constitute a distinct geological change.
The sculpture I’ve created is intended to depict a human cranium merged with the streets of New York City. It also pays homage to the legend of the alligator in the New York sewers. Rumours and reports of reptiles in the city started as early as in the 1930’s and confirmed cases have been reported as late as 2020 by the New York Times. These alligators were brought to NYC by humans, just as everything else that one can find in the city. As we continue to merge with our cities and the cities continue to shape us, a form of Hybrid Speciation is taking place and a new human creature is evolving – the urban species in the age of Athropocene.
Alexander Klingspor, Stockholm 2021
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.
"Hybrid Speciation No. II - London"
"New York City Legend"
"Horse saddled with time"
1904-1989
"Horse saddled with time"
Date: conceived and first cast in 1980
Height: 44 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: brown
Maquette: original wax, ʺHorse Saddled with Timeʺ, 1980
Descharnes References:Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 252 ref. 650
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 theme of lapsing time troubled Dalí incessantly. The artist stated “The mechanical object was to become my worst enemy, and as for watches, they would have to be soft, or not be at all”. The horse, one of Dalí’s favourite images, is saddled with Dalinian time. The famous soft-watch is used here in place of a normal saddle. The horse is portrayed as the representation of life weighed down and harnessed tightly by time. The sculpture signifies the omnipresence of time and the weight it has in all our actions.
The raging horse appears to protest against this unwelcome constraint, his movements a futile attempt to free himself. Time races on and reminds us of man’s fleeting voyage through life and our own mortality. This surrealistic beast cannot be ridden by man, for it is time who is the ultimate rider.
Dalí believed that time and space could not be dissociated, and this sculpture illustrates time in its disordered dimension, fluid, receding and transitory.
This sculpture is one of the first from the collaboration between Beniamino Levi, President of the Dalí Universe, and Dalí himself. For this sculpture, Dalí created the maquette in wax, moulding it with his fingers. The hand markings are visible in the body of the horse, its muscles and particularly the mane.
"Persistence of Memory"
1904-1989
"Persistence of Memory"
Date: conceived and first cast in 1980
Height: 37 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: green
Maquette: original wax, ʺPersistence of Memoryʺ, 1980
Descharnes References:Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 246 ref. 632
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
Dalí has isolated the central image of his best-known painting and given it the same title. It is a simple figure: a limp watch draped over the branch of a dead tree. Dalinean time is not rigid; it is one with space…fluid. The unexpected softness of the watch also represents the psychological fact that the speed of time, while precise in scientific use, is widely variable in human perception. When we are involved in pleasant activities or in work that absorbs all our attention, 'time flies', but when we are mired in boredom or discomfort, it drags. The limp watch no longer 'keeps' time; it does not measure its passage. Thus, the speed of our time depends only on us.
"Dessins pour la Bible"
1887-1985
"Dessins pour la Bible"
Verve Vol X, No 37‑38.
The complete book with 24 lithographs in colour.
Éditions de la Revue Verve, Paris, 1960.
Cramer 42. Mourlot 230‑280.
"Untitled II"
1977
2020 / 2021
Oil on canvas, 110x180 cm
Provenance:
Exhibited at Grand Hôtel, Stockholm, October 2021
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
2021-2022
Oil on canvas
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
2021-2022
Oil on canvas
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.
"Space Elephant"
1904-1989
"Space Elephant"
Date: conceived and first cast in 1980
Height: 94 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: brown
Maquette: original plaster, ʺSpace Elephantʺ, 1980
Descharnes References: Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 244 ref. 631
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 image of an elephant carrying an obelisk is portrayed in one of Dalí’s best-known paintings The Temptation of St Anthony (1946). Four elephants led by a horse in a desert landscape, carry symbolic objects which represent various temptations. The obelisk, symbol of knowledge and power, is Dalí’s homage to Gian Lorenzo Bernini’s sculpture in Rome.
Dalí’s elephants have exaggeratedly long legs which raise them up towards the sky. These thin, multi-jointed legs juxtapose with the heavy body of the elephant. The obelisk alludes to a tiring burden, yet the artist distorts reality making it weightless, an illusion of it almost floating above the saddle. The combination of these contradictory elements create a sense of disarray and metaphysical imbalance that can only exist in a dream-like world.
This surreal creature, moving through space towards the heavens, symbolizes a flight of fantasy to a mesmerizing universe. The image of the elongated legs in addition to the tall pointed obelisk, alludes to man’s pursuit of ‘reaching higher’.
The legs of the elephant originally had claw-like feet during the sculpture’s creation. Doubtful of this element, Beniamino Levi President of the Dalí Universe, approached Dalí to modify it. After initial resistance and with Gala’s support, the feet changed to horses hooves.
Like the soft watch, the Elephant became an important symbol, an unforgettable image used repeatedly in his oeuvre.
"Space Venus"
1904-1989
"Space Venus"
Date: conceived in 1977, first cast in 1984
Height: 65 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: blue
Maquette: original gouache, ʺSpace Venusʺ, 1977
Descharnes References: Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 239 ref. 616
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
Venus is the goddess of beauty and Dalí pays homage to the female figure and his attraction to female beauty in this sculpture, by adding his own surreal elements. The underlying form in this sculpture is of a classic female torso, to which four Dalinian symbols are added: a soft watch, ants, an egg and a separation of the body into two parts. The watch is draped over the neck to give us two opposing messages, that beauty of the flesh is temporary and will vanish, while beauty of art is timeless and eternal.
Ants crawl across the abdomen; they are symbols of decay and decomposition. Dalì watched ants as a child with both fascination and repulsion, he used them often in his oeuvre, and they serve as a reminder of human mortality. The sculpture is divided into two, revealing an egg. The egg is a favorite Dalinian theme given the duality of its hard exterior and soft interior and is a positive symbol. It represents life, renewal, continuation and the future.
On the clock face the numbers five and eleven are missing, did Dalí wish to indicate the date he was born?
"Homage á Newton"
1904-1989
"Homage á Newton"
Date: conceived and first cast in 1980
Height: 35 cm
Material: bronze
Technique: lost wax process
Edition size: 350 + 35 EA
Patina: brown
Maquette: original wax, ʺHomage to Newtonʺ, 1980
Descharnes References:Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 122 ref. 299
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
Dalí honors Isaac Newton (1642-1727), the English mathematician, who discovered the law of gravity when an apple fell on his head.
In this sculpture, based on the small image illustrated in the painting Phosphene of Laporte (1932), Dalí pierced the figure with two holes: one which portrays the absence of Newton’s vital organs, whilst the empty head suggests open mindedness. Dalí implies that Newton has become a mere name in science, completely stripped of his personal identity and individuality.
Dalí was obsessed with the concept of hard and soft, here he plays with inverting the anatomy, showing the bones protruding from the body. As Dalí recounts in his autobiography, The Secret Life of Salvador Dalí: “The hip bones, which absolutely must be very prominent- pointed, so that one knows that they are there”.
In 1986 the King of Spain dedicated a large plaza in Madrid to Dalí and the artist created a monument of this image for its center, that is almost five meters high. The sculpture still stands there today.
"Histoire de la Reine Esther"
1894-1986
Gouache and watercolour, 67 x 51 cm.
Signed Theo Tobiasse and dated -74.
1883-1966
Gouache on board. 30x19 cm
Signed G. Severini
"Portal II"
1977
2021
Oil on canvas, 180x80 cm
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.
"Face IX"
1963
2021
Oil on canvas, 111x115 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 X"
1963
2021
Oil on canvas, 111x115 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.
"Seascape XII"
1963
2020/2021
Oil on canvas, 108x160 cm.
Provenance:
Exhibited at Liljevalchs Konsthall, GRAND Antiques, Art & Design 2021.
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.
"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.
"Untitled II"
1977
2020 / 2021
Oil on canvas, 110x180 cm
Provenance:
Exhibited at Grand Hôtel, Stockholm, October 2021
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.
"Untitled"
1977
2021
Oil on canvas, 180x80 cm
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.
"Untitled"
1977
2021
Oil on canvas, 180x80 cm
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.
