Mollbrinks participates at London Art Fair

2024

We're exhibiting at London Art Fair

16- 21 JANUARY 2024

Stand no. G12

16- 21 JANUARY 2024

Mollbrinks stand no. G12

Phone no. +46 708277103

Tuesday 16 January:

  • VIP Preview 14.00 – 17.00 (by invitation only)
  • Preview Evening 17.00 – 21.00

PUBLIC FAIR HOURS

  • Wednesday 17 th January 11.00 – 21.00
    • Private View 17.00 – 21.00 
  • Thursday 18 th January 11.00 – 21.00 
  • Thursday Late 17.00 – 21.00 
  • Friday 19th January 11.00 – 19.00
  • Saturday 20 th January 11.00 – 19.00 
  • Sunday 21 st January 11.00 – 17.00

 

Business Design Centre 52 Upper Street Islington London N10 QH

 

www.LondonArtFair.co.uk

Alexander Klingspor

N.Y.C. LEGEND

Alexander Klingspor

N.Y.C. LEGEND

Joan Miró

”Oda a Joan Miró"

Joan Miró

1893-1983

Paysan au Bouquet

Litograph in colour, 1973

Signed and numbered, edition 75.

Image: 80x61 cm.


Published by Edicions Polígrafa S.A. Barcelona
Printed by La Polígrafa, S.A. Barcelona

Literature: Maeght no. 905
 

Joan Miró

”Le Soleil Ébouillanté"

Joan Miró

1893-1983

Le Soleil Ébouillanté

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

Frank Björklund

The Invention"

This painting has a strong ecological message

Marc Chagall

”Paysan au bouquet"

Marc Chagall

1887-1985

Paysan au Bouquet

Litograph in colour, 1968

Signed and numbered, edition 50.

Image: 32x22 cm.

Reference: Mourlot 550

Marc Chagall

L'Ange du jugement"

Marc Chagall

1887-1985

"L'Ange du jugement"

”L'Ange du jugement”

Colour lithograph printed 1974 by Charles Sorlier after Marc Chagall. Signed and numbered. Published by Amis du Message Biblique Marc Chagall, Nice.

Image: 52x43 cm.

Paper: 72,5x54,5 cm. (Arches)

Mourlot CS 45

Salvador Dalí

”Quevedo's Visions"

Salvador Dalí

1904 - 1989

"Quevedo's Visions"

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.


Salvador Dalí

from ”Quevedo's Visions"

Salvador Dalí

from ”Quevedo's Visions"

Salvador Dalí

from ”Quevedo's Visions"

Salvador Dalí

from ”Quevedo's Visions"

Salvador Dalí

from ”Quevedo's Visions"

Salvador Dalí

from ”Quevedo's Visions"

Rupert Jasen Smith

from ”Greta Garbo"

Rupert Jasen Smith

1953-1989

"The Kiss"

from the portfolio Greta Garbo

Screenprint in colors on paper, 1988

Edition 125 + 15 HC.

Signed by hand and blindstamp, numbered  HC 14/15. 

Image: 110x86 cm.

 

From the portolio "Greta Garbo" which was started by Andy Warhol, but completed by Rupert Jasen Smith due to Andy Warhol's sudden death. The work is signed by Rupert Jasen Smith.

Damien Hirst

"Justice, from The Virtues"

Damien Hirst

b. 1965

Justice, from The Virtues

2021

120x96 cm.

Laminated Giclée print on aluminum composite panel.

Hand-signed and numbered on label verso

Damien Hirst

"Taytu-Betul​"

Damien Hirst

b. 1965

Justice, from The Virtues

2022

100 x 100

 2814

Taytu-Betul from the series "The empresses"

Laminated print on aluminium, complemented with dimond dust.

Hand-signed by artist verso
Numbered verso

Salvador Dalí

"Triumphant Angel"

Salvador Dalí

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.

Photo: (C) IAR Art Resources

Salvador Dalí

"Dance of Time I"

Salvador Dalí

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.

Photo: (C) IAR Art Resources

Salvador Dalí

"Dance of Time III"

Salvador Dalí

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.

Photo: (C) IAR Art Resources

Salvador Dalí

"The Anthropomorphic Cabinet"

Sterling silver

12x23 cm

Salvador Dalí

"Snail and the Angel"

Salvador Dalí

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.

Photo: (C) IAR Art Resources

Salvador Dalí

"Homage to Newton"

Salvador Dalí

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.

Photo: (C) IAR Art Resources

Alexander Klingspor

"N.Y.C. LEGEND"

Alexander Klingspor

1977

"New York city Legend"

2022

Bronze, edition 49

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.

 

Read more (PDF)

 

 

Alexander Klingspor

"Hybrid Speciation No. II - London"

Alexander Klingspor

1977

"Hybrid Speciation No. II - London"

2021/2022

Bronze, edition 12

Hybrid Speciation The hybridization between two or more distinct lineages that contributes to the origin of a new species

- (Encyclopedia of Evolutionary Biology)

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.

 

Read more (PDF)

 

 

Nick Smith

"The Simpsons couch"

Nick Smith

b. 1984

"The Simpsons couch"

2020

64x78 cm

Edition: 99

Pigmentprint in colors.
Signed

Frank Björklund

"Air Ballloons"

oil on canvas

135x90 cm

Frank Björklund

"(Like) Fish out of Water"

oil on canvas

50x50 cm

Frank Björklund

"The Juggler"

oil on canvas

70x60 cm

Frank Björklund

"Make your voice heard"

oil on canvas

40x90 cm

Frank Björklund

"Sideeffects"

oil on canvas

40x90 cm

Frank Björklund

"Intermission"

oil on canvas

40x90 cm

Frank Björklund

"Flying colors"

oil on canvas

60x50 cm

Frank Björklund

"Think outside the box"

oil on canvas

60x50 cm

Frank Björklund

"The Butterfly Effect"

oil on canvas

50x40 cm

Agnetha Sjögren

"Chrome Pink-Red"

Bronze, Uniqe

approx. 26 cm high

Agnetha Sjögren

"Purple splash"

Bronze, Uniqe

approx. 26 cm high

Agnetha Sjögren

"Blue Copper Chrome"

Bronze, Uniqe

approx. 26 cm high

Prints by Frank Björklund

Alexander Klingspor

"Portal"

Alexander Klingspor

1977

"Portal"

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.

 

Read more

 

 

Alexander Klingspor

"Cluster III - Drifters"

Alexander Klingspor

1977

"Cluster III - Drifters"

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.

Alexander Klingspor

"Reflections"

Alexander Klingspor

1977

"Reflections II

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.

Ralf Arzt

"Underwater III - plastic free oceans"

Ralf Arzt

1963

"Underwater III - plastic free oceans"

Oil on canvas

2022

93x120 cm

Alexander Klingspor

"Reconstructors II"

Alexander Klingspor

1977

"Reconstructors II"

Oil on canvas

85x200 cm

2021

Alexander Klingspor

"New York City Legend"

Ralf Arzt

"Nude XLV"

Ralf Arzt

1963

Nude XLV"

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. 

 

Ralf Arzt

"Drapped in Red"

Ralf Arzt

1963

"Drapped in Red"

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. 

 

Ralf Arzt

"Face XII"

Ralf Arzt

1963

"Seascape XII"

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. 

 

Anders Zorn

"the Cousins"

Anders Zorn

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.

Anders Zorn

"Cigarettrökerska II"

Anders Zorn

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.

Anders Zorn

"Axel Herman Hägg III"

Anders Zorn

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. 

Frank Björklund

"Last years model"

Frank Björklund

1960

"Last years model"

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

Frank Björklund

"Gallows Humour"

Frank Björklund

1960

"Gallows Humor"

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