Mollbrinks participates at London Art Fair.
Stand no. G12

Business Design Centre, Islington N1 0QH

LONDON

 

MOLLBRINKS

Stand no. G12

Phone no. +46 708 277103

VIP PREVIEW

Wednesday 20 April 2022:

12pm – 5pm (by invitation only)

 

PREVIEW EVENING

Wednesday 20 April 2022:

 5pm – 9pm

 

Thursday 21 April 2022

11am – 9pm  (Thursday Late 5pm – 9pm)

 

Friday 22 April 2022

11am – 7pm

 

Saturday 23 April 2022

11am – 7pm

 

Sunday 24 April 2022

11am – 5pm

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

Marc Chagall

(1887-1985)

Le bonheur du jeune couple aux fleurs

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.

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

Marc Chagall

”Aurore à Saint-Paul"

Marc Chagall

1887-1985

Aurore à Saint-Paul

Litograph in colour, 1968

Signed and numbered, edition 75.

Image: 56x38 cm.

Paper: 75x51 cm.

Reference: Mourlot 548

Marc Chagall

”Pantomime"

Marc Chagall

1887-1985

"Pantomime"

Litograph in colour, 1972

Editor: Maeght, Paris

Signed and numbered, edition 50.

Image: 39x30,5 cm.

Paper: 66x49,5 cm. (Arches)

Reference: Mourlot 649

Marc Chagall

”Le Violoncelle"

Marc Chagall

1887-1985

Le Violoncelle

Litograph in colour, 1976

Editor: Maeght, Paris

Signed and numbered, edition 50.

Image: 32x25 cm.

Paper: 50x40 cm.

Reference: Mourlot 897


Alexander Klingspor

"Hybrid Speciation No. I - New York City"

Alexander Klingspor

1977

"Hybrid Speciation No. I - New York City"

Bronze, 24,5x13x16 cm

Edition: 12

Executed in 2020/2021. 

Foundry: Perseo SA, Fonderie d'art, Mendrisio, Switzerland. 

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

- (Encyclopedia of Evolutionary Biology)

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.

 

Read more

 

 

Alexander Klingspor

"Hybrid Speciation No. II - London City"

Alexander Klingspor

1977

"Hybrid Speciation No. II - London City"

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

 

 

Alexander Klingspor

"New York City 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

 

 

Salvador Dalí

"Horse saddled with time"

Salvador Dalí

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.

Photo: (C) IAR Art Resources

Salvador Dalí

"Persistence of Memory"

Salvador Dalí

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.

Photo: (C) IAR Art Resources

Marc Chagall

"Dessins pour la Bible"

Marc Chagall

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.

 

Alexander Klingspor

"Untitled II"

Alexander Klingspor

1977

"Untitled II"

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.

 

Read more

 

 

Alexander Klingspor

"Cluster III - Drifters"

Alexander Klingspor

1977

"Cluster III - Drifters"

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.

Alexander Klingspor

"Reflections"

Alexander Klingspor

1977

"Cluster III - Drifters"

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.

Salvador Dalí

"Space Elephant"

Salvador Dalí

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.

Photo: (C) IAR Art Resources

Salvador Dalí

"Space Venus"

Salvador Dalí

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?

Photo: (C) IAR Art Resources

Salvador Dalí

"Homage á Newton"

Salvador Dalí

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.

Photo: (C) IAR Art Resources

Théo Tobiasse

"Histoire de la Reine Esther"

Théo Tobiasse

1894-1986

"Histoire de la Reine Esther"

Gouache and watercolour, 67 x 51 cm.

Signed Theo Tobiasse and dated -74.

Gino Severini

 

Gino Severini

1883-1966

Gouache on board. 30x19 cm

Signed G. Severini

Alexander Klingspor

"Portal II"

Alexander Klingspor

1977

"Portal II"

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.

 

Read more

 

 

Ralf Arzt

"Face IX"

Ralf Arzt

1963

"Face IX"

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. 

 

Ralf Arzt

"Face X"

Ralf Arzt

1963

"Face X"

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. 

 

Ralf Arzt

"Seascape XII"

Ralf Arzt

1963

"Seascape XII"

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.

 

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. 

Alexander Klingspor

"Untitled II"

Alexander Klingspor

1977

"Portal II"

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.

 

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Alexander Klingspor

"Untitled"

Alexander Klingspor

1977

"Portal II"

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.

 

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Alexander Klingspor

"Untitled"

Alexander Klingspor

1977

"Portal II"

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.

 

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