Sell what you have plenty of Buy now what you really love

Transcription

“Sell what you have plenty of
Buy now what you really love”
Jesper Bruun Rasmussen, freely adapted from Piet Hein
Alexa, Frederik and Jesper Bruun Rasmussen
with Bruun Rasmussen Auctioneers of Fine Art
request the pleasure of your company
for the opening of the Auction Preview:
Tres år – Trésor – 60 years at Bredgade
Wednesday, the 12th of November 2008
at 17.00 to 20.00 hours.
Dagens program:
18.00
Jesper Bruun Rasmussen
Velkomst
Auktionssalen
18.10
Frederik Bruun Rasmussen
Skagensmalerne på auktion
Auktionssalen
18.20
Anna von Lowzow
Om filmen P.S. Krøyer – Sikken Fest
Auktionssalen
18.40
Lise Svanholm
Kunstnerkolonien på Skagen
Auktionssalen
Filmen P.S. Krøyer – Sikken Fest vises løbende samtlige eftersynsdage
Foredrag af 15 minutters varighed ved husets specialister kl. 17.30, 18.30 og 19.30:
Birte Stokholm
C. W. Eckersberg
1. sal (1.1)
Bettina Sinnet
Vilhelm Hammershøi
2. sal
Anders Fredsted
Ældre møbler
1. sal (1.11)
Alexa Bruun Rasmussen
Sølv
Mezzanin
Katrin Mikkelsen-Sørensen
Diamanter
1. sal (1.15)
Kristian Haagen
Armbåndsure
2. sal (1.7)
Kasper Nielsen
Russisk kunst
3. sal
Sebastian Hauge Lerche
Bøger
1. sal (1.8)
Henrik Schleppegrell
Tæpper
1. sal
Peter Christmas-Møller
Moderne kunst
Bredgade 25
Peter Kjelgaard
Dansk møbelkunst
Bredgade 25
Vi kan desværre ikke tilbyde parkering i gården.
Bredgade 31
(2.1)
(1.10)
Alexa, Frederik og Jesper Bruun Rasmussen
samt Bruun Rasmussen Kunstauktioner
har hermed den glæde at invitere Dem med ledsager
til åbningen af eftersynet:
Tres år – Trésor – 60 år i Bredgade
Onsdag den 12. november 2008
kl. 17.00 til 20.00.
Sixty Years of Pleasures and Treasures
This autumn, Bruun Rasmussen Auctioneers of Fine Art celebrates its 60th Anniversary by
presenting a wealth of pleasures and treasures at auction - a true horn of plenty.
We are proud to offer various paintings by the founder of the Danish Golden Age
C.W. Eckersberg, a number of splendid Skagen paintings by P.S Krøyer and Michael Ancher,
significant works by Vilhelm Hammershøi and city views from the old Copenhagen by
Paul Fischer.
Modern art includes principal works by Danish artists Wilhelm Lundstrøm, Henry Heerup,
Tal R and Michael Kvium and well-known foreign artists such as Tom Wesselmann, Mel
Ramos and Andy Warhol.
Antiques include magnificent crystal chandeliers, rare signed furniture, gilt mirrors and fine
jewellery and collectibles from antiquity to our time.
This exclusive selection of treasures is just a small reflection of what has engaged us since
Arne Bruun Rasmussen knocked down the hammer for the first time. Today, sixty years later,
this legacy is carried on by the second and third generations.
Enjoy the treasure hunt!
Trésor - 60 years
auction 18 November 2008 at 6 pm
20 November 2008 at 6 pm
preview Wednesday
12 November
5 pm - 8 pm
Thursday
13 November
1 pm - 5 pm
Friday
14 November
1 pm - 5 pm
Saturday
15 November
11 am - 4 pm
Sunday
16 November
11 am - 4 pm
Monday
17 November
11 am - 4 pm
Bredgade 33 · DK-1260 Copenhagen K · Tel +45 8818 1111 · Fax +45 8818 1112
[email protected] · www.bruun-rasmussen.dk
Tres år – Trésor
Bruun Rasmussen Kunstauktioner fejrer i dette efterår sit tres års jubilæum – og hvad kunne
være mere naturligt end at markere de tres år med et katalog fuld af skatte.
Vi præsenterer en perlerække af malerier af den danske Guldalders fader C.W. Eckersberg,
prægtige Skagens-billeder af P.S. Krøyer og Michael Ancher, en stribe væsentlige værker af
Vilhelm Hammershøi samt populære motiver fra det gamle København af Paul Fischer.
Også den moderne kunst er med. Hovedværker af Wilhelm Lundstrøm, Heerup, Tal R
og Michael Kvium samt billeder af store udenlandske kunstnere som Tom Wesselmann, Mel
Ramos og Andy Warhol.
Antikviteterne er repræsenteret med pragtfulde prismekroner, signerede møbler, forgyldte
spejle og kommoder, strålende juveler samt samlerobjekter fra oldtiden til vore dage.
Udbuddet af denne skat – trésor – viser, hvad vi har beskæftiget os med i de tres år, der er
gået siden Arne Bruun Rasmussen svingede hammeren for første gang. Nu er det anden og
tredje generation, der skal løfte arven.
God skattejagt!
Tres år - Trésor
auktion
18. November 2008 kl. 18
20. November 2008 kl. 18
eftersyn Onsdag
12. November
17 - 18
Torsdag
13. November
13 - 17
Fredag
14. November
13 - 17
Lørdag
15. November
11 - 16
Søndag
16. November
11 - 16
Mandag
17. November
11 - 16
Bredgade 33 · DK-1260 København K · Tel +45 8818 1111 · Fax +45 8818 1112
[email protected] · www.bruun-rasmussen.dk
auction 795
tuesday
18 november
6 pm
tresór - 60 years
selected paintings
wednesdy 19 november
1 pm
thursday
20 november
1 pm
6 pm
friday
1 - 79
paintings
200 - 424
paintings and drawings
425 - 614
tresór - 60 years
modern paintings and design
antiques
101 - 187
21 november
11 pm
monday
24 november
1 pm
tuesday
25 november
1 pm
russian paintings and antiques
(separate catalogue)
furniture and clocks
furniture and clocks
wednesday 26 november
1 pm
thursday
27 november
1 pm
friday
28 november
1 pm
silver and jewellery
oriental works of art and carpets
ceramics and glass
700 - 1070
Tuesday 18 November at 6 pm
lot 1 - 79
tresor_s12-106_mal Page 12 Tuesday, October 28, 2008 10:32 AM
1
1
Philip August Fischer
b. Rudkøbing 1817, d. Copenhagen 1907
View of "Kastellet" in Copenhagen. Signed and dated Ph.
Aug. Fischer 1852. Oil on canvas. 55 x 66 cm.
"Kastellet" (The Citadel) located in Copenhagen is one of the best
preserved fortifications in Northern Europe.
DKK 30.000-50.000 / € 4.000-6.700
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BRUUN RASMUSSEN TRÉSOR
2
Dankvart Dreyer
b. Assens 1816, d. Barløse 1852
"Hulvejen ved Forbæk bro i nærheden af Silkeborg".
The sunken road at Forbæk bridge close to the town
of Silkeborg. A study. 1841. Unsigned. Oil on canvas
mounted on canvas. 28 x 37 cm. Damborg frame.
Leo Swane, A Catalogue Raisonné of the Works of Dankvart Dreyer no. 110, reproduced p. 74. A study for no.
111 in the Catalogue Raisonné, that one exhibited at
Charlottenborg in 1842 and later sold at ABR auction
734, 2004 no. 1511.
Suzanne Ludvigsen, A Catalogue Raisonné of the Works
of Dankvart Dreyer no. 121.
Exhibited: Kunstforeningen, "Udstilling af Dankwart
Dreyers Arbejder", 1912 no. 58. Stockholm, "Utställning
av dansk konst från 1800-talets förra hälft", 1922 no. 24.
Fyns Stiftsmuseum Odense, "Mindeudstilling for Dankvart Dreyer 1816-1852", 1952 no. 49, reproduced p. 23.
Aarhus Kunstmuseum, "Jylland i Dansk Malerkunst",
1956 no. 84, reproduced p. 3.
Literature: "Kunst i Privateje", 1945, vol. II, p. 53, mentioned p. 59-60. Herman Madsen, "200 Danske Malere og
deres Værker", 1946, vol. I, p. 169, fig. 2. Kirstine og
Hjalmar Bruhn, "Malerier, Tegninger, Kunstindustri"
volumes I-III, 1934-1954, reproduced here.
Provenance: Miss Wilhelmine Knudsen, a present from the
artist. Oluf Knudsen, Policeman (1901). Same year
bought by Julius Hertz, Merchant. Peter Hertz, Curator,
Winkel & Magnussen auction 189, 1936 no. 3, reproduced p. 9. The collection of Hjalmar Bruhn, Shipbroker,
ABR auction 276, 1972 no. 1, reproduced p. 7.
The collection of Frands Hougaard, Doctor.
DKK 100.000-125.000 / € 13.000-17.000
2
13
3
Jens Juel and his workshop
b. Balslev, Funen 1745, d. Copenhagen 1802
A portrait of Batholomæus Hansteen (1743-1820),
Customs Officer, sitting at a table holding some letters
and a quill. Unsigned. Oil on canvas. 56 x 43 cm.
On the reverse an old inscription: "The face is painted by the
Danish portrait painter Jens Juel".
DKK 125.000-150.000 / € 17.000-20.000
4
Jens Juel
Hindsgavl Slot. Hindsgavl manor house. Unsigned.
Oil on canvas. 38 x 51 cm.
Provenance: ABR auction 205, 1967 no. 9, from a Danish
private collection. The collection of Frands Hougaard, Doctor.
Ellen Poulsen mentions two views of Hindsgavl: "Udsigt over
Lillebælt fra Hindsgavl" (View of the Little Belt from Hindsgavl) and "Udsigt fra Hindsgavl over Middelfart og Lillebælt" (View from Hindsgavl over the town of Middelfart and
the Little Belt) C. 1799/1800. 42 x 62 cm each. These
counterparts are in the Thorvaldsens Museum. The present
painting is a bit smaller and shows Hindsgavl manor house.
The two views from Hindsgavl in the Thorvaldsens Museum
were commissioned by the owner of Hindsgavl manor house,
Christian Holger Adeler. It is likely that he also commissioned
the painting here of the manor house.
It is interesting to notice that Jens Juel often painted landscapes in pairs.
A pendant to this painting could be no. 719 in Ellen Poulsen,
A Catalogue Raisonné of the Works of Jens Juel. "Udsigt mod
Frederiksgave på Fyn" (View of Frederiksgave) with the same
measurements 38 x 51 cm. Also see note for 719 p. 197 in
Ellen Poulsen.
DKK 300.000-400.000 / € 40.000-54.000
3
14
4
15
5
Christen Købke
b. Copenhagen 1810, d. s. p. 1848
Portrait of Margrethe Hahn, married Stougaard. Half-lenght
portrait in profile with a blue silk headscarf. Signed and
dated on the reverse C. Købke 14-9-1829, this now covered by
a new canvas. Oil on canvas. 21 x 18 cm.
Emil Hannover, A Catalogue Raisonné of the Works of Christen Købke
no. 16 (in the note).
Mario Krohn, A Catalogue Raisonné of the Works of Christen Købke
no. 18.
Hans Edvard Nørregård-Nielsen, A Catalogue Raisonné of the Works
of Christen Købke no. 18.
Exhibited: Guildhall, London, "Exhibition of Works by Danish Painters", 1907 no. 220, in that case with a wrong provenance: Mario
Krohn. Kunstforeningen, "Fortegnelse over Christen Købkes Malerier", 1912 no. 19. Kunstforeningen, "Christen Købke", 1953 no. 14.
Statens Museum for Kunst, "Christen Købke 1810-1848", 1996 no. 18.
Literature: Hans Edvard Nørregård-Nielsen, "Christen Købke - Omkring Kastellet", vol. I, 1996, p. 102 and 112, reproduced p. 104.
Mogens Nykjær, "Kundskabens billeder. Om Christen Købke" in "Argos. Tidsskrift for kunstvidenskab - visuel kommunikation - kunstpædagogik" no. 3, 1986 p. 27.
Provenance: Always in the possession of the family of Margrethe
Hahn. Søren Sørensen, Doctor, Thisted (1893). Jerslev, Pharmacist,
Fjerritslev (1953).
5
16
In a diary from 1829 Købke writes the following on the 12th of
August: "Started to paint Grethe" and again on the 14th of September: "Finished the painting of Grethe". (Mario Krohn, "Maleren
Christen Købkes Arbejder", 1915 p. 5). In the summer of 1829 Købke
spent a couple of months at the vicar J. C. Hahn's home. Here Købke
flirted with one of the Vicar's two daughters, Margrethe, called Grethe. He painted the present portrait for the family, and a repetition for
himself as a memory. Hans Edvard Nørregård-Nielsen, Art Historian, charmingly describes the small, fine portrait in "Christen Købke Omkring Kastellet" p. 112: "Her face is like a winter apple, but with
a sweetness, that goes downwards and gathers around her mouth,
while the sadness in her eyes most certainly is due to her youth and the
fact that the two of them were about to part".
DKK 250.000 / € 34.000
6
6
I. C. Dahl
b. Bergen 1788, d. Dresden 1857
"Møens Klint". The Cliffs of Møn. Signed and dated Dahl 1828. Oil on
paper mounted on canvas. 10 x 15,8 cm.
Marie Lødrup Bang, A Catalogue Raisonné of the Works of I. C. Dahl no. 586.
Provenance: The estate auction of the late J. A. Blom, Titular Councillor of State,
and wife, Charlottenborg, Copenhagen 1912 no. 388.
P. Søsterhagen, Kristiania 1920.
J. A. Greislingaa's sale at Blomqvist Kunsthandel, Oslo 1964 no. 15.
Blomqvist Kunsthandel, Oslo 2003 no. 256.
Two other well-known Golden Age painters, C. W. Eckersberg (lot 7) and P. C.
Skovgaard (lot 30), are represented in this sale with views of the Cliffs of Møn.
DKK 200.000 / € 27.000
17
7
C. W. Eckersberg
b. Blåkrog, Aabenraa 1783, d. Copenhagen 1853
"Anden Udsigt til Sommerspiret". The second view of "Sommerspiret".
1809. Unsigned. Oil on canvas. 39 x 45 cm.
Emil Hannover, A Catalogue Raisonné of the Works of C. W. Eckersberg no. 58.
Exhibited: Kunstforeningen, "Udstillingen af C. W. Eckersbergs Malerier", 1895
no. 37. Aarhus Kunstmuseum, "C. W. Eckersberg", 1983 no. 15. Nivaagaards
Malerisamling, "Møen i dansk kunst - Naturromantik i Guldalderen", 1994
no. 9.
Literature: Peter Michael Hornung & Kasper Monrad, "C. W. Eckersberg dansk malerkunsts fader", 2005 p. 66-81, reproduced p. 66 and 71.
Provenance: Christopher von Bülow of Nordfeld, Møn, Prefect and Chamberlain. Baron Güldencrone of Vilhelmsborg. In his family until now.
In 1809 Christopher von Bülow commissioned a series of landscape paintings
by Eckersberg. He wanted Eckersberg to paint the manor Nordfeld, but also the
surrounding landscapes - including Møns Klint, the Cliffs of Møn with the
"Sommerspiret" - the now vanished chalk spire at the top of the cliffs. Eckersberg
depicted the cliffs in two small companion pieces: the present one focusing on the
cliffs and the "Sommerspiret", the counterpart first and foremost presenting a
view of the Baltic (Hannover no. 57). Both views are framed by trees and leaves
and in the foreground the elegantly dressed walkers are wandering on the paths
in the area. From here you could experience the grandiose and dramatic scenery
around the cliffs - a rare sight in Denmark that artists and visitors flocked to at
that time. About 1800 people became aware of nature from a new perspective.
Not only the utility value was of interest, nature's different atmospheres could be
experienced and perceived, preferably at the most spectacular and untouched
spots - as Møns Klint - but always at a safe distance, like in the present
painting with visitors sitting on a bench and standing behind a fence.
It is uncertain, how many paintings Eckersberg painted for Christopher von Bülow during and after his stay at Nordfeld, but the series of landscape paintings
was Eckersberg's last large job before he in 1810 started to make preparations for
his journey to Paris and Rome, from which he returned to Copenhagen not until
1816. Two paintings from the Møn series are today in the Statens Museum for
Kunst (The Danish National Gallery).
Two other well-known Golden Age painters, I. C. Dahl (lot 6) and P. C. Skovgaard (lot 30), are represented in this sale with views of the Cliffs of Møn.
DKK 1.500.000-2.000.000 / € 201.000-268.000
18
7
19
8
8
Heinrich Hansen
b. Haderslev 1821, d. Frederiksberg 1890
Visitors exploring the ruins of Pompei. Signed and dated
H. H. 69. Oil on canvas. 31 x 40 cm.
DKK 75.000-100.000 / € 10.000-13.000
20
9
9
Fritz Petzholdt
b. Copenhagen 1805, d. Patras 1838
Italian landscape with a young couple on a path. Unsigned.
Inscribed on the reverse E. C. F. Petzholdt. Oil on paper
mounted on canvas. 29 x 39 cm.
DKK 50.000-75.000 / € 6.700-10.000
21
10
C. F. Sørensen
b. Samsø 1818, d. Copenhagen 1879
"Kjöbenhavns indre Rhed. Orlogsskibe under Eqvipering i
Foraaret 1851". The Port of Copenhagen with warships
being equipped in the spring of 1851. Signed and dated C.
Fredrik Sørensen 1862. Oil on canvas. 110 x 162 cm.
Exhibited: Charlottenborg 1862 no. 200.
DKK 200.000-300.000 / € 27.000-40.000
22
10
23
11
I. L. Jensen
Lillies, roses, bindweeds and dahlias in a “greek vase” on a table top with a fruit bowl and a branch of
black cherries. Signed and dated I. L. Jensen 1838.
DKK 200.000-300.000 / € 27.000-40.000
11
24
12
C. W. Eckersberg
"En Storm”/"Blæsevejr". Stormy weather. 1845.
Unsigned. Oil on canvas. 32 x 28 cm.
Emil Hannover, A Catalogue Raisonné of the Works
of C. W. Eckersberg no. 583.
Literature: The exhibition catalogue “Nivaagaard
viser Marstrand”, 1992 p. 94. Erik Fischer, “C. W.
Eckersberg. His mind and times”, 1993 reproduced
p. 118. Peter Michael Hornung & Kasper Monrad,
“C. W. Eckersberg - dansk malerkunsts fader”, 2005,
reproduced p. 364 and p. 362-363 (detail).
Provenance: The collection of Willy Breinholst,
Author and Humorist.
Emil Hannover is quoting from Eckersberg's diary on
the 12th of April 1845: "Anlagt et lille Genrebillede"
(Started on a new genre painting) and on the 16th of
May 1845: "Arbeidet paa og er blevet færdig med et
lille Genrebillede "en Storm". (I have been working
on and have now finished a small genre painting "a
storm").
DKK 1.000.000-1.200.000 / € 134.000-161.000
12
25
13
26
13
Friedrich Thøming
b. Eckernförde 1802, d. Naples 1873
The Bay of Naples with fishermen carrying the catch
of the day ashore. Signed and dated Thöming 1842.
Thøming studied at the Academy of Fine Arts in Copenhagen
1823-1824. He then moved to Italy and lived there for the
rest of his life.
He exhibited at Charlottenborg 1823-1853.
Among the buyers of his paintings were the Royal Family,
the sculptor Bertel Thorvaldsen, who owned several paintings by Thøming, and well-known Danish high officials as
etatsråd (Titular Councillor of State) Bugge, hofråd (Court
Official) Hambro and grosserer (Merchant) Puggaard.
DKK 300.000 / € 40.000
14
C. W. Eckersberg
"En Brig". The brig "Møen", a training ship for naval
cadets. 1823. Unsigned. Oil on canvas mounted on
board. 45 x 56 cm.
Emil Hannover, A Catalogue Raisonné of the Works of C.
W. Eckersberg no. 305.
Provenance: Captain Deconink. The collection of
Frands Hougaard, Doctor.
Eckersberg writes the following in his diary on the 23rd of
March 1823: "Af Cpt. Deconink 40 Rbdr. Sølv for 2 Søestykker Corvetten og Briggen". (Received 40 Rbdr. Silver
from Captain Deconink for the two seascapes).
DKK 150.000-200.000 / € 20.000-27.000
14
27
15
Jens Juel
15
28
A pair of portraits of bookkeeper at Asiatisk Kompagni Christophe Battier (died in Paris 1783) and
his wife Anna Elisabeth Battier, née Storp (17551793). He is wearing a dark reddish brown jacket
and is sitting at a table which is covered by a green
cloth, on the table some books. She is wearing a
brownish dress with lace at the elbows and a greyishwhite cape. Her hair is put up and around her neck
a black ribbon. She is holding a basket with roses in
her hands. Both unsigned. Both oil on canvas.
78 x 62 cm each. Period frames. (2).
The artist's own repetitions of no. 117 and 118 in Ellen
Poulsen, A Catalogue Raisonné of the Works of Jens Juel.
She is dated 1771, he is dated 1772 and both are signed.
Exhibited: Kunstforeningen, "Jens Juel Udstillingen", 1909
no. 20 and 21.
Literature: E. F. S. Lund, "Danske malede Portrætter", vol.
I, 1895 p. 21.
Provenance: Mrs. Mary Gamborg (her mother was née Battier) (1909). The paintings were owned by the family until
1931. Winkel & Magnussen auction 99, 1931 no. 80 and
81, reproduced p. 10 and 11.
DKK 750.000 / € 101.000
15
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16
C. W. Eckersberg
"Castel St. Angelo". View across the Tiber towards Castel St. Angelo in Rome.
Emil Hannover, A Catalogue Raisonné of the Works of C. W. Eckersberg no. 229,
owned by Count Bille-Brahe of Hvedholm. The painting is a companion piece of
Hannover's no. 246 ("Monte Aventino", 1819) also owned by Count Bille-Brahe of
Hvedholm.
Provenance: The estate of the late Baron Preben Bille-Brahe-Selby, Winkel &
Magnussen auction 112, 1932 no. 12, reproduced p. 5 - here also the companion
piece was sold. Peter Hougaard, Painter, and wife Laura Hougaard, née La Cour,
married first time Dinesen, Rungstedgaard. The collection of Frands Hougaard,
Doctor.
ckersberg stayed in Rome 1813-1816 and painted the present work after his return to
Copenhagen. The painting looks very much like a smaller work painted c. 1815 in
Rome, it shows the same locality and has since 1889 been in the possession of the Statens
Museum for Kunst (The Danish National Gallery) (28,5 x 44 cm, Hannover no.
183). The last-mentioned is a counterpart of Hannover's no. 182 painted in Rome
at the same time and also showing the Tiber but here with the Ponte Rotto bridge in
30
the foreground and the Mount Aventine in the background, also owned by the
Statens Museum for Kunst since 1909. It seems Bille-Brahe commissioned two slightly larger versions of the two views of the Tiber. Bille-Brahe's "Mount Aventine" painting is very close to the earlier painting at the Statens Museum for Kunst, only a few
alterations in the group of figures in the foreground have been made. In the present
version of the "Castel St. Angelo" motif Eckersberg has incorporated more Roman street
life and a small anecdote, than in the smaller painting at the Statens Museum for
Kunst. A young Italian girl is washing clothes in the fountain "Fontana della
Barchetta" to the left, while following the couple in the foreground, who are having a
proper southern quarrel, closely.
The intention with Eckersberg’s stay in Rome was to improve his history painting.
But the Roman architecture captured his interest and he decided to paint some of the
greatest views of Rome instead, while focusing on the architecture and precision in
colour, form and lines. (Peter Michael Hornung og Kasper Monrad, "C. W. Eckersberg
- dansk malerkunsts fader", 2005 from p. 132). His project was not to paint the most
famous Roman localities, nor did he, with the exception of the two pairs of views of
the Tiber, where one of Rome’s most characteristic landmarks, the Castel St. Angelo, is
pictured.
DKK 2.000.000-2.500.000 / € 268.000-335.000
16
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17
Wilhelm Marstrand
f. Copenhagen 1810, d. s. p. 1873
A newly married couple. Crown Prince Frederik (the later Frederik
V) and Crown Princess Louise sharing cherries in their home at
Charlottenborg. (After Charlotte Dorothea Biehl's letters). Signed
and dated W. M. 1868. Oil on canvas. 56 x 37 cm.
Exhibited: Charlottenborg 1869 no. 135. Kunstforeningen, "Marstrand Udstilling", 1898 no. 476.
Literature: Smaa Kunstbøger no. 10, 1913 reproduced p. 55.
Provenance: Ferdinand Meldahl, Titular Councillor of State and Architect.
Miss Charlotte Dorothea Biehl (1731-1788) was by her friend, Johan von Bülow, asked to write about her time and nearest past in a row of letters for him
only. The letters were published in 1865 and were interesting, because Miss
Biehl was very well-informed about the conditions of her time, especially at
Court. For a period she lived at Charlottenborg, where also the Crown Prince
resided, and there she made her observations: "Especially I remember the last
Christmas Eve. The Princess was standing in her room and the Prince came to
her with a plate full of cherries ... But how did they eat them? She held the stalk
in her mouth, so he had to eat the cherry from her lips, and she got hers in the
same way from his lips". This text gave Marstrand the inspiration for his
colourful romantic painting. Karl Madsen, "Wilhelm Marstrand", 1905 p.
382.
DKK 150.000 / € 20.000
18
Wilhelm Marstrand
“En Kildereise”. A trip to the springs. A horse-drawn carriage with
many people on their way to the springs. Indistinctly signed and
dated W. M. 1830? Oil on canvas. 29 x 42 cm.
Exhibited: Charlottenborg 1830 no. 85. Bought by King Christian VIII.
Kunstforeningen, "Marstrand Udstilling" 1898 no. 4, belonging to E. le
Marie, Wholesale Dealer.
Provenance: King Christian VIII. Emil le Marie, Wholesale Dealer. Winkel &
Magnussen auction 337, 1947 no. 248, reproduced p. 9. Winkel & Magnussen auction 342, 1947 no. 118, reproduced p. 9. ABR auction 291, 1973 no.
168, reproduced p. 27.
DKK 225.000 / € 30.000
17
32
18
33
19
Jens Juel
"Landskab ved Øresund". Landscape near Øresund. View of Aggershvile, Strandvejen and Øresund (The Sound) seen from a place
near Mathildehøj (Mathilde Hill). In the background the island
Hven. Unsigned. Oil on canvas. 55 x 76 cm.
Ellen Poulsen, A Catalogue Raisonné of the Works of Jens Juel no. 823, reproduced vol. II, p. 528.
Exhibited: Städtisches Museum Flensburg, "Ausstellung Dänischer Malerei" 1948 no. 79.
Provenance: The estate of the late Baron Preben Bille-Brahe-Selby, Winkel
& Magnussen auction 112, 1932 no. 31. Peter Hougaard, Painter, and
wife Laura Hougaard, née La Cour, married first time Dinesen, Rungstedgaard. The collection of Frands Hougaard, Doctor.
As in many of Jens Juel's paintings the contrast between the peasant population and the master and mistress is clear. In the present work the harvesters are to the left with a little boy pointing at an elegant lady in a light
dress to the right - while her daughter is bringing her wild flowers.
DKK 1.500.000-2.000.000 / € 201.000-268.000
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35
36
20
20
Frederik Theodor Kloss
b. Braunschweig 1802, d. Copenhagen 1876
Seascape with American ships of the line. Unsigned. Oil on
canvas mounted on panel. 77 x 110 cm.
DKK 150.000-200.000 / € 20.000-27.000
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21
Wilhelm Marstrand
"Parablen. Den store Nadver". The Parable of the Great
Supper. Religious scene from Luke chapter 14:16-24.
Literature: Karl Madsen, "Wilhelm Marstrand", 1905 p. 315 pp.
Gitte Valentiner, "Wilhelm Marstrand", 1992 p. 147 pp.
Otto Marstrand, "Wilhelm Marstrand", 2003 p. 193 pp.
During a stay in Sorø, where Marstrand was commissioned to
portray B. S. Ingemann, the Hymn Writer and Clergyman, Marstrand went to a service where "The Parable of the Great Supper"
was the text of the day.
The painting here is a preliminary work for the large painting
(190 x 280 cm) now in the Statens Museum for Kunst (The Danish National Gallery). It took Marstrand about 10 years to complete the painting. It was bought by the museum when it was first
exhibited at Charlottenborg in 1869. People were carried away by
the way he represented the topic. The smaller version here is a finished painting very similar to the version in the museum.
St. Luke's Gospel tells us the story about a rich man who invites
his friends for dinner. Everyone has an excuse not to come. It
makes him angry and he asks his servants to go into town and
invite the poor, the blind and other disabled people for dinner.
Inspiration for the composition of this painting is "Levi's Feast"
by Paolo Veronese in Venice.
The painting is dominated by a hall supported by Corinthian columns. The host welcomes his guests, among others a poor shepherd and a blind helped to the table by a child. The dregs of society are enjoying the well-provided tables. A mother and her
children are seen at a table to the left and to the right is another
mother with all her children inspecting the delicacies. Music is
played and there is a nice view of the market place and the
mountains in the background.
Wilhelm Marstrand wanted to depict "The ideal love of mankind". It is a kind of testament: showing his humanistic outlook
through the painting.
DKK 250.000 / € 34.000
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22
Albert Küchler
b. Copenhagen 1803, d. Rome 1886
"Italienske Jægere i et Vertshuus". Hunters in an osteria.
Provenance: Justitsråd (Councellor) Wilde in Randers. (1840).
Etatsråd (Titular Councellor of State) Fenger. Mrs. Barnekow.
Albert Küchler moved to Rome in 1830 and settled there for the
rest of his life. He felt like a native Roman and converted to Catholicism in 1844 and became a monk. Hereafter he only painted
religious motifs.
Albert Küchler has here managed to catch the atmosphere of the
Italian osteria. The innkeeper at the fireplace, his wife pouring
wine, the hunters enjoying the wine and the innkeeper's daughter
trying to attract the attention of the young hunter by showing
him a kitten.
DKK 75.000-125.000 / € 10.000-17.000
23
Friedrich Thøming
b. Eckernförde 1802, d. Naples 1873
The Italian coast. Signed and dated F. Thøming 1850.
DKK 150.000-200.000 / € 20.000-20.000
22
40
23
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24
Carl Balsgaard
f. Copenhagen 1812, d. s. p. 1893
Still life with oysters, lobster, flowers and fruit on a table
near a window. Signed and dated C. Balsgaard 1854.
Oil on canvas. 128 x 98 cm. Frame decorated with gilt
DKK 300.000 / € 40.000
ornamentation.
25
Frans Snyders
b. Antwerp 1579, d. s. p. 1657
Nature morte with roe deer, wild fowl, parrots, lobster
and oysters. Unsigned. Oil on canvas. 120 x 183 cm.
DKK 300.000 / € 40.000
24
42
25
43
26
Albert Küchler
Two young Italian women playing with an infant
on a terrace. In the background a view of Lake Nemi.
Unsigned. Oil on canvas. 96 x 83 cm. Unframed.
A painting with a nearly identical motif was sold at
ABR auction 366, 1977 no. 126. The painting was
signed and dated 1837 with the measurement 43 x 36
cm. It could be a study for the present painting.
DKK 50.000 / € 6.700
27
Constantin Hansen
b. Rome 1804, d. Frederiksberg 1880
"Udsigt fra Villa Mattei over Campagnen mod
Albanerbiergene". View from Villa Mattei over
the Roman Campagna towards the Alban Hills.
Signed and dated C. H. 1841. Oil on paper
mounted on canvas. 34 x 43 cm. Damborg frame
with a label.
Emil Hannover, A Catalogue Raisonné of the Works of
Constantin Hansen no. 218, reproduced p. 109.
Exhibited: Charlottenborg 1842 no. 282 (in the supplement). Palazzo Braschi, Rome, "Pittori Danesi a Roma
nell'Ottocento", 1977 no. 31. Statens Museum for
Kunst, "Danske malere i Rom i det 19. århundrede",
1977-78 no. 31. Thorvaldsens Museum and Aarhus
Kunstmuseum, "Constantin Hansen 1804-1880",
1991 no. 71. Grand Palais, Paris, "Paysage d'Italie Les peintres du plein air 1780-1830", 2001. Palazzo
Te, Mantova, "Un paese incantato - Italia dipinta da
Thomas Jones a Corot", 2001.
Literature: Emil Hannover, "Maleren Constantin Hansen", 1901 p. 107-108, where the painting gets a very
good review.
Provenance: Mr. C. Brun, Krogerup (1842). Mrs. E.
Brun, née Bluhme (1901). Tesdorpf, Klippinge (1991),
Landowner. The manor Gjorslev, Stevns.
DKK 250.000-300.000 / € 34.000-40.000
26
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28
C. W. Eckersberg
"Prospekt af Hovedgaarden Nordfeldt paa Møen".
View of the manor Nordfeld on the island of Møen.
Emil Hannover, A Catalogue Raisonné of the Works of C. W.
Eckersberg no. 86.
Kunstforeningen, "Udstillingen af C. W. Eckersbergs Malerier",
1895 no. 51.
Nivaagaards Malerisamling, "Møen i dansk kunst - Naturromantik i Guldalderen", 1994 no. 58, not in the catalogue.
Literature: Peter Michael Hornung & Kasper Monrad, "C.
W. Eckersberg - dansk malerkunsts fader", 2005 p. 66-81,
reproduced p. 72.
Provenance: Christopher von Bülow of Nordfeld, Møn, Prefect
and Chamberlain. Baron Güldencrone of Vilhelmsborg near
Århus. In his family until now.
In 1809 Christopher von Bülow commissioned a series of
landscape paintings by Eckersberg. He wanted Eckersberg to
paint the manor Nordfeld, but also the surrounding
landscape - including Møns Klint, the Cliffs of Møn. Eckersberg depicted the manor and surroundings in a couple of
paintings from the gardens, but he also painted the manor
and in a quite untraditional way not focusing on the house itself, which is seen from a distance and almost hidden behind
trees, but on the landscape.
It is uncertain, how many paintings Eckersberg painted for
Christopher von Bülow during and after his stay at Nordfeld,
but the series of landscape paintings was Eckersberg's last
large job before he in 1810 started to make preparations for his
journey to Paris and Rome, from which he returned to Copenhagen not until 1816. Two paintings from the Møn series are
today in the Statens Museum for Kunst (The Danish National Gallery).
DKK 800.000-1.200.000 / € 107.000-161.000
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28
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29
C. W. Eckersberg
A portrait of Sarah Wolff née Cruttendon in a blue dress,
writing a letter. 1821. Unsigned. Oil on canvas. 65 x 49 cm.
Period frame.
Emil Hannover, A Catalogue Raisonné of the Works of C. W. Eckersberg
no. 275.
Literature: C. W. Eckersberg's diary the 5th of May 1821: "Imodtaget
for Madam Wolffs Portrait 100 Rbdl (rix-dollar)". (Received 100
Rbdl for the portrait of Madam Wolff).
Provenance: ABR auction 115, 1960 no. 101.
DKK 300.000 / € 40.000
30
C. F. Sørensen
b. Samsø 1818, d. Copenhagen 1879
The frigate "Stockholm" and sailing ships on the ocean. Signed
and dated C. Frederik Sørensen 1873. Oil on canvas.
162 x 225 cm.
Provenance: C. F. E. von Holstein-Rathlou. The estate auction of the
late C. F. E. von Holstein-Rathlou 1919 no. 194.
Winkel & Magnussen auction 277, 1941 no. 218, reproduced p. 13.
ABR auction 395, 1979 no.190, reproduced p. 55.
DKK 250.000 / € 34.000
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31
P. C. Skovgaard
b. Ringsted 1817, d. Copenhagen 1875
View of the Cliffs of Møn. Signed and dated P. C. Skovgaard (in
one word) 1852. Oil on canvas. 126 x 190 cm.
Not many Danish painters had the ability, like P. C. Skovgaard, to paint
the magnificent and dramatic Danish nature. A very good example of this
can been seen in the present painting from the Cliffs of Møn.
P. C. Skovgaard was very fascinated by the nature of Møn and he often returned to this specific place with the vertical white cliffs, and from there he
painted a number of sketches as well as minor and larger paintings as this
one. In 2007 a storm unfortunately damaged the cliffs so this specific
view is no longer to be seen.
P. C. Skovgaard visited Møn for the first time in 1842. The Art Historian
N. L. Høyen and P. C. Skovgaard had a long correspondence about the
Cliffs of Møn. Høyen described the area with enthusiasm and told Skovgaard that many picturesque motifs were to be found here. He compared the
cliffs with the marble palaces painted by Paulo Veronese. Høyen accentuated the special light appearing in the sea and the sky, and mentioned
that the light here, more than anywhere else in Denmark, reminded him of
the light in Southern Europe.
Høyen’s recommendations prompted P. C. Skovgaard to experience the
landscape himself and he was overwhelmed. It was not an easy task to
paint the enormous cliffs and integrate them into the surroundings - the
sky, sea and beach.
For a long time Skovgaard was unsure of how to paint the cliffs until one
day, while walking on the beach, it suddenly occured to him from where
and how to paint them. He decided to paint them seen from the beach, by
doing this the cliffs became even more impressive and by a clever use of
sunlight and shadow in the painting he gave the cliffs more facets.
A smaller painting with a similar subject can be seen in Fuglsang Kunstmuseum, Lolland.
Two other well-known Golden Age painters, C. W. Eckersberg (lot 7) and
I. C. Dahl (lot 6), are represented in this sale with views of the Cliffs of
Møn.
DKK 500.000-600.000 / € 67.000-80.000
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P. S. Krøyer
b. Stavanger 1851, d. Skagen 1909
"Daphnis og Cloë". Daphnis and Chloe. Two naked figures in a landscape. He is playing the flute. She is sitting
next to him with her hands on his right shoulder. Signed and dated S. Krøyer Paris 1879. Oil on canvas. 164 x
123 cm.
H. Chr. Christensen, A Catalogue Raisonné of the Works of P.
S. Krøyer no. 211.
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52
Exhibited: Charlottenborg, "En Samling Malerier, Studier, Tegninger m.m. af Maleren P. S. Krøyer", 1905 no. 39 and reproduced in the catalogue.
Skagens Museum, "Salon", Museets 100års udstilling (100 years
anniversary), 2008 no. 103.
The painting was deposited at Skagens Museum from 1995 till
August 2008.
Literature: Smaa Kunstbøger, no. 1, 1910 p. 12. Kunstbladet
1909. "P. S. Krøyer. Tradition. Modernitet", Århus Kunstmuseum, 1992 p. 56. Elisabeth Fabritius, "Michael Ancher og det moderne gennembrud", 1999 p. 28.
Provenance: Mr. Wilh. Jørgensen, Factory Owner.
P. S. Krøyer travelled via Holland and Belgium to Paris in 1877
where he visited the art museums. In Paris he rented a room in the
Montmartre district, an area where other Danish painters lived.
His good friend the painter Tuxen introduced him to Léon Bonnat
and soon Krøyer joined the "École Bonnat".
The Greek author Longus (3rd or 4th century) wrote this pastoral
romance about a pair of lovers, their adventures and their final
happy reunion and marriage. The couple is very often depicted as
shepherds with a syrinx.
DKK 600.000-800.000 / € 80.000-107.000
53
33
Annibale Carracci, studio of
16th century
Diana and Acteon. Unsigned. Oil on canvas. 109 x 152 cm.
According to the mythology Acteon (or Actaeon) saw Diana, the hunting
goddess, bathing naked in a river. Therefore Diana transformed Acteon
into a stag and set his own hunting dogs to kill him. For more than 200
years, until World War II, the painting was ascribed to the Italian
baroque painter Annibale Carracci (1560-1609).
DKK 1.000.000 / € 134.000
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33
55
34
Christian Holm
Carriages in front of an inn close to one of the town gates of Munich. Signed and dated C. Holm (in one
word) München 1840. Oil on canvas. 73 x 90 cm.
Christian Holm travelled to Munich after having received a
scholarship in 1830-32. He stayed there for around 10 years
and was linked to the circle of artists that gathered in the city
and included among others the Danes Sonne, Blunck, Storch,
Kiellerup and H. C. Andersen. The Crown Prince Christian
Frederik bought paintings by Holm for himself and for the
Kunstforeningen. DKK 50.000-75.000 / € 6.700-10.000
35
F. C. Lund
34
56
"Stormen paa Kjøbenhavn Natten imellem den 10de
og 11te Febr. 1659. Det første Angreb paa Volden, som
foregik, hvor Stormgade nu ligger. De Svenske have
iført sig hvide Skjorter, for at de ikke skulle kjendes fra
Sneen. Tilhøire i Billedet Kong Frederik III, Børsen,
Proviantgaarden og Tøihuset; tilvenstre Stadens Kommandant Thuresen, det gamle Kjøbenhavns Slot med
Blaataarn, Holmens Kirke og Nikolai Taarn". The
assault on Copenhagen on the 10th and 11th of February
1659. The Swedes are dressed in white in order not to
be distinguished from the snow. To the right King
Frederik III, to the left the city's commandant Thuresen
against the skyline of Copenhagen. Signed and dated
F. C. Lund 1880. Oil on canvas. 175 x 280 cm.
The assault on Copenhagen by the Swedish army on the 11th
of February 1659 was a major battle during the Northern
Wars. It took place during the Swedish siege of Copenhagen
and resulted in Danish victory.
DKK 200.000 / € 27.000
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57
36
Johan Thomas Lundbye
b. Kalundborg 1818, d. Bedsted 1848
"Studie fra Sørups Vang ved Frederiksværk". A
study from Sørup’s Field in the vicinity of Frederiksværk. Signed with monogram and dated
Sörups Vang 24. Aug. 41. Oil on cardboard.
24 x 33 cm.
Karl Madsen, A Catalogue Raisonné of the Works of J.
Th. Lundbye no. 106.
Exhibited: Kunstforeningen, "Arbejder af Johan Thomas Lundbye", 1893 no. 54.
Aarhus Kunstforening, 1925 no. 9. Kunstforeningen,
"Malerier af Johan Thomas Lundbye", 1931 no. 49.
Literature: Karl Madsen, "Malerier af Johan Thomas
Lundbye", 1931, reproduced no. 16.
Provenance: C. C. Lundbye, War Minister and Colonel. Mrs. E. C. Lundbye. Mrs. Agnete Broge. H. C.
Broge, Merchant. The estate of the late Mrs. Paula
Broge, ABR auction 201, 1966 no. 3, reproduced p.
9. The collection of Frands Hougaard, Doctor.
DKK 60.000-80.000 / € 8.000-11.000
37
Theodor Philipsen
36
"Vejen til Bromølle". The road to Bromølle.
Signed with monogram and dated 1910.
Vibeke Skov, A Catalogue Raisonné of the Works of
Theodor Philipsen no. 641.
Exhibited: Den Frie 1911 no. 154. Kunstforeningen,
"Th. Philipsen Udstilling", 1911 no. 336.
Provenance: Theodor Philipsen (1911). Theodor
Philipsen auction 1916 no. 187. Mr. Victor Hans
Meyer. Mr. C. J. Liebe (1991).
DKK 50.000-75.000 / € 6.700-10.000
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59
38
60
38
Elisabeth Jerichau Baumann
b. Warsaw 1819, d. Copenhagen 1881
A Fellah woman and her baby. Signed and dated
Elisabeth Baumann Jerichau Memphis 1872. Oil
on canvas. 99 x 128 cm.
The work was painted in connection with the artist's two
journeys to the East in respectively 1869-70 and 1874-75.
A Fellah is a peasant, farmer or agricultural labourer of
the original rural population in the Middle East, in this
case from Egypt.
DKK 200.000-300.000 / € 27.000-40.000
39
Martinus Rørbye
b. Drammen 1803, d. Copenhagen 1848
A Nubian sitting on a staircase in Rome, smoking a
cigarette. Signed and dated M. R. Rom 1839.
Thorvaldsens Museum, A Catalogue Raisonné of the
Works of Martinus Rørbye no. 161.
Exhibited: Thorvaldsens Museum, "Martinus Rørbye",
1981 no. 82.
Martinus Rørbye wrote in his diary from Rome on the
18th of November 1839 about his meeting with the Nubian,
whom he met at the steps leading up to the church Santa
Maria in Aracoeli, and whom he immediately made an
appointment with. The painting shows an unusual and
exotic motif in Danish art.
DKK 700.000 / € 94.000
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40
Michael Ancher
b. Bornholm 1849, d. Skagen 1927
"To Gamle udenfor deres Hus en Sommeraften". Two elderly
people in front of their house on a summer evening. Niels and
Ane Gaihede at their cottage in Østerby, Skagen. Signed and
dated Michael Ancher 89. Oil on canvas. 77 x 105 cm.
Michael Ancher painted the present motif several times - in 1887, 1889
and 1890. The paintings vary in size and presentation of the motif.
The work here is the largest and has strong bright colours and light.
The present painting combines the best features of the two smaller
works: The characteristic representatives of the local people and the
beautiful Skagen landscape.
DKK 150.000-200.000 / € 20.000-27.000
41
Michael Ancher
Self-portrait. The painter Michael Ancher in a warm winter
coat lined with fur and a cap. Signed M. A. Oil on canvas.
64 x 58 cm.
DKK 150.000-200.000 / € 20.000-27.000
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63
42
P. S. Krøyer
Two boys sitting in the sunshine on Skagen Beach. Signed
and dated S. Krøyer Skagen 93. Oil on canvas. 38 x 60 cm.
In the late 1870s Krøyer studied in Paris under Léon Bonnat and
became influenced by the naturalist plein-air school of painting,
especially by its emphasis on colour and light. In 1882 Krøyer
visited Skagen for the first time and found this desert between two
seas an ideal place to study the qualities of colour and light. Besides his great interest in and ability to paint sand, water and the
outdoor atmosphere Krøyer also was a brilliant painter of figures.
He often painted himself, his wife Marie or local women and
fishermen walking or sitting on the beach. When children were his
theme, he usually painted them naked and bathing like the
children seen in the background of this painting. Not very often
are they just sitting like in this piece. Maybe these two boys on summer holiday from Copenhagen are watching the local fishermen
leaving or returning from fishing?
DKK 3.000.000 / € 402.000
64
42
65
43
66
43
Viggo Johansen
"Børn, der male Foraarsblomster". Children painting spring flowers. Signed and dated V. Johansen
94. Oil on canvas. 46 x 56 cm.
DKK 125.000-150.000 / € 17.000-20.000
44
Anna Ancher
b. Skagen 1859, d. s. p. 1935
"Småpiger med en torsk". An interior from Skagen
with four children showing a codfish. Signed A.
Ancher. Oil on canvas. 81 x 63 cm.
Exhibited: Niedersächsisches Landesmuseum, Forum des
Landesmuseums, Hannover, "Anna Ancher", 1994-1995
no. 65.
Den Hirschsprungske Samling (The Hirschsprung Collection), Copenhagen, "Anna Ancher", 1995 no. 65.
Skagens Museum and Helga Anchers Fond, Michael and
Anna Anchers Hus, "Anna Ancher", 1995 no. 65.
Literature: Christine Refflinghaus, Elisabeth Fabritius and
Heide Grape-Albers, "Anna Ancher 1859-1935", 1994, p.
176 no. 65.
DKK 600.000 / € 80.000
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45
P. S. Krøyer
"Madam Bentsens Hus, Krøyers første
Bolig". Mrs. Bentsen's house, the artist's
first home in Skagen. 1890. Unsigned.
Oil on panel. 23 x 32 cm.
H. Chr. Christensen, A Catalogue Raisonné
of the Works of P. S. Krøyer no. 427.
Exhibited: On the reverse old exhibition labels
from Kunstsalon Keller & Reiner, Berlin,
no. 45 and Kunstsalon Banger, Wiesbaden,
no. 23.
Literature: Alba Schwartz "Skagen", 1912,
reproduced p. 179.
Provenance: The estate auction of the late P.
S. Krøyer 1910 no. 117.
ABR auction 311, 1974 no. 280.
In Krøyer's early years in Skagen he and
Marie rented a modest house owned by a local
woman, Mrs. Bentsen. The painter Viggo
Johansen had rented it before and later
Laurits Tuxen took over. (Today the house is
better known as The Tuxen villa). The
house already had large studio windows so
it was perfect for P. S. Krøyer who immediately set up his studio and started to paint.
The most well-known painting from this early
period is Marie Krøyer and the hunting dog
Rap by moonlight on Skagen beach.
DKK 250.000-275.000 / € 34.000-37.000
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P. S. Krøyer
"Åben Strand. Skagen". At Skagen Beach.
Signed and dated S. K. 06. Oil on panel.
32 x 41 cm.
H. Chr. Christensen, A Catalogue Raisonné of the
Works of P. S. Krøyer no. 747.
DKK 250.000-350.000 / € 34.000-47.000
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47
70
47
Michael Ancher
"To Damer ved Nordstranden. Solnedgang".
Two women in the sunset at Skagen Nordstrand (Skagen Beach). Marie Dinesen (to the
left) and Anna Bitsch (née Saxild) strolling
along Skagen Nordstand in the sunset. Signed
and dated Mich. Ancher 07. Oil on canvas.
79 x 111 cm.
Michael Ancher worked with the charming motif of
the ladies on the beach several times. In 2006 Bruun
Rasmussen sold two smaller versions from 1905 and
1908. The early one showing only Marie Dinesen on
the beach, the later one both ladies - here Anna Bitsch
is wearing her hat instead of carrying it in her right
hand as in the present work.
The painting here easily compares to works of P. S.
Krøyer with beautiful women in summer dresses
strolling on the beach in the sunlight or in the
evening atmosphere, The "l'heure bleu".
Ancher displays how skilfully he handles the colours,
the light and the composition and manages to create
nothing less than the essence of the Skagen feeling. Ancher is especially known for his paintings of the
local people of Skagen, first and foremost fishermen
and their wifes, but as time went by he started to include young and well-dressed women from the
middle classes. At the end of the 19th century Skagen
became a popular place for wealthy Copenhageners to
spend their summer holidays. The well-off summer
guests now both appeared in the paintings and
bought them as souvenirs reminding them of warm
and happy days in Skagen.
DKK 2.000.000-3.000.000 / € 268.000-402.000
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48
Peter Ilsted
b. Sakskøbing 1861, d. Copenhagen 1933
Interior from Liselund. A young woman tossing
the salad. 1917. Signed with monogram. Oil on
canvas. 71 x 60 cm.
DKK 250.000-300.000 / € 34.000-40.000
49
Michael Ancher
"Den druknede". The drowned fisherman.
Signed and dated M. Ancher 93. Oil on canvas.
56 x 70 cm.
"The drowned fisherman" is a principal work of Ancher's and one of the most popular and also the largest
painting he ever painted (212 x 289 cm) - now at
Skagens Museum.
Ancher painted several sketches of the painting and
this is one of the most finished with many fine details
and very close to the final, large version. Ancher
worked a long time with several compositions for this
work.
Ancher is first and foremost a painter of man and the
daily life of the local fishermen and their families with
the rough sea as the worst enemy. The drowned fisherman is surrounded by family and colleagues all resigned in silent grief.
DKK 350.000-400.000 / € 47.000-54.000
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Laurits Tuxen
"Badende børn i modlys". Two bathers at Skagen
Beach. C. 1913. Signed L. T. Oil on canvas.
46 x 68 cm.
Lise Svanholm, A Catalogue Raisonné of the Works of
Laurits Tuxen no. 934.
On the reverse an exhibition label from Charlottenborg.
Exhibited: Nivaagaards Malerisamling, "Tuxen og
Skagen", 1990-1991 no. 37.
In this painting "Two bathers at Skagen Beach" Tuxen
was inspired by the European movement "Vitalism",
which among other things focused on the beautiful
vigorious naked body, health, strength, the masculine
body, the emancipated woman, light and nature. In
this painting several of these elements are celebrated.
DKK 250.000-350.000 / € 34.000-47.000
51
P. S. Krøyer
50
74
"Augustaften i Thy. Fra Billedets højre Hjørne
snor en sandet Kørevej sig over Heden mod Klitbakker i Baggrunden. Midt på Vejen trækker en
Dreng med et par Køer. Fuldmaane". Evening in
August, Thy. A sandy road is winding through
the landscape. In the background dunes. A boy
is leading two cows, full moon. 1889. Signed S.
Krøyer. Oil on canvas. 38 x 60 cm.
H. Chr. Christensen, A Catalogue Raisonné of the
Works of P. S. Krøyer no. 417.
Study for no. 418 in the Catalogue Raisonné once
owned by Kunsthalle in Hamburg.
Exhibited: Stiftelsen Modums Blaafarveværk, "Somrene
på Skagen", 1997 no. 82.
The painting was deposited at Skagens Museum till
August 2008.
Provenance: N. Bjørn-Pedersen, Chief Engineer (overingeniør).
DKK 600.000-800.000 / € 80.000-107.000
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Vilhelm Hammershøi
"Stue. Tilhøjre op mod den gullig-hvide Bagvæg, et gult Chatol paa
høje Ben. Derover et firkantet Spejl i Mahogni-Ramme. Tilhøjre en
hvid Dør med Messing-Beslag. I forgrunden, tilvenstre for Billedets
Midte, en ung sortklædt Kvinde med Ryggen mod Beskueren".
Room. On the right against the yellowish-white back wall a yellow
bureau on tall legs. Above the bureau a square mirror in a mahogany
frame. On the right a white door with brass furniture. In the foreground left of centre a young woman dressed in black with her back
turned against the beholder. 1893. Unsigned. Oil on canvas. 40 x 37 cm.
Sophus Michaëlis and Alfred Bramsen, A Catalogue Raisonné of the Works of
Vilhelm Hammershøi no. 135. Yet (cf. the text above) described partly reverse.
Exhibited: De Frie Studieskoler (Independent Study Schools) in Charlottenborg,
Copenhagen, 1896. A photo of the painting hanging in that exhibition can be
seen in the exhibition catalogue at the Royal Academy of Arts, 2008, p. 163.
Exhibited: Kunstforeningen, "Arbejder af Vilhelm Hammershøi", 1916 no. 111.
Provenance: Bought by Kunstforeningen 1894. Later in the collection of
Alfred Bramsen. Bramsen was a very dear friend and the painter's patron.
In an interview given to the magazine "Hjemmet" (Home) in 1909 Hammershøi
states: "If people would only recognize that a few good pieces of furniture in a
room gives a far more beautiful and fine look than do many mediocre things".
And further: "And if you could just get rid of all the "rubbish" - what a gain
it would be for the look of the homes!". (Paul Vad, "Hammershøi", 1988, p.
402-403). This "matter of fact" statement does not at first reveal any deep metaphysical reflections concerning the interior decoration of Hammershøi's
home. However the "naked" unostentatiousness is essential in the fascination
that Hammershøi's art arouses. Time has stopped and the moment seems frozen as when you go off into a trance.
Hammershøi has been internationally famous for a long time. Recently the British
Comedian, Actor and Globetrotter Michael Palin has sought the key to understanding Hammershøi's art. ("Michael Palin and the Mystery of
Hammershøi", BBC 2005). Along with so many others Palin is fascinated
with the "mysterious" silence in Hammershøi's paintings.
DKK 2.500.000-3.000.000 / € 335.000-402.000
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53
Paul Fischer
The artist's first wife Dagny standing in a garden door.
Signed Paul Fischer. Oil on canvas. 74 x 58 cm.
DKK 225.000 / € 30.000
54
Vilhelm Hammershøi
A nude woman laying on a bed. Signed V. H.
Oil on canvas mounted on cardboard. 35 x 45 cm.
In the few cases Hammershøi depicted nudes they were preferably seated or standing – never reclined. The painting carries no
date but is presumably painted very early in Hammershøi’s
oeuvre, perhaps even as a nude study, perhaps on his first journey to Paris in 1889 judging by the influence of the French style. The painting thus seems to indicate an early stage of Hammershøi’s production while at the same time pointing to a later
epoch in art history, in that the somewhat contorted, bony female nude could boldly be interpreted as resembling those rendered
a century later by the German-born British painter Lucian
Freud (b. 1922). However, the averted face, the somewhat freehanded brushwork on the grey back wall, and not least the
small painting hanging high on the wall above the bed are very
typical Hammershøi features. Only few other painters would
think of placing a small picture in the room at this exact spot on
the wall and few other painters would include such an image in
a painting where, indeed, the focus is on the model rather than
the interior.
DKK 250.000-300.000 / € 34.000-40.000
53
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Paul Fischer
"Østergade". Shopping in "Strøget" (Østergade) in Copenhagen.
Signed and dated Paul Fischer 1886. Oil on canvas. 136 x 96 cm.
Literature: Jan Møller, "København før og nu - og aldrig" 3, 1988, reproduced p. 20.
"Strøget" is a row of shopping streets in central Copenhagen.
DKK 2.500.000 / € 335.000
55
80
81
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Vilhelm Hammershøi
"Landskab. Sommer. Fra Ryet ved Farumsø." Summer
landscape. From Ryet near Lake Farum. The branches and leaves of the trees on the hillside stand out
against the sky. In the foreground beeches. 1895.
Sophus Michaëlis and Alfred Bramsen, A Catalogue Raisonné of the Works of Vilhelm Hammershøi no. 141.
Exhibited: Den Frie 1896 no. 34. "Kunst- og Industriudstillingen i Paris 1900" (a letter to the owner of the painting,
Instrument Maker Hjorth, from Danish painter P. S. Krøyer,
Chairman of the committee for the Danish participation in
the Paris exhibition, is enclosed).
Guildhall, London, "Exhibition of Works by Danish Painters", 1907 no. 112.
On the reverse of the painting there is an exhibition label
from "Det Danske Kunststævne i "Forum", Copenhagen,
1929, but the painting is not registered in the exhibition catalogue. Since the turn of the year 2006/07 and until now
the painting has been exhibited at the Statens Museum for
Kunst (The Danish National Gallery).
Provenance: Instrument Maker Emil Hjort, in his family
since 1895 and until now. There is a difference of opinion
regarding how Mr. Hjort acquired the painting, if the painting was specifically painted for him or if he bought it at art
dealer Kleis's shortly after it was painted.
Mr. Hjort owned 4 paintings by Hammershøi. At the abovementioned exhibition in Paris 11 works by Hammershøi were
presented, three of these were Mr. Hjort's: The present
landscape, the painting "Tre unge kvinder" (Three young
ladies) from 1895, now at Ribe Kunstmuseum, and a
dining room interior.
.
DKK 600.000-800.000 / € 80.000-107.000
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83
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Vilhelm Hammershøi
Self-portrait. Half natural size. Presumably a preliminary
work for "Double portrait of the artist and his wife" no.
104 in Sophus Michaëlis and Alfred Bramsen, A Catalogue Raisonné of the Works of Vilhelm Hammershøi.
1891. Unsigned. Pastel on paper. 30 x 25 cm.
Exhibited: Kunstforeningen, "Vilhelm Hammershøi 18641916", 1955 no. 52.
Ordrupgaard,"Hammershøi. Retrospektiv udstilling", 1981 no.
39, reproduced p. 70.
Wildenstein, New York, "Hammershøi. Painter of Stillness and
Light", 1983 no. 25.
The Philips Collection, Washington, "Hammershøi. Painter of
Stillness and Light", 1983 no. 25.
Literature: Poul Vad, "Vilhelm Hammershøi. Værk og liv", 2003
reproduced p. 131.
Provenance: Johannes C. Bock, his auction, Winkel & Magnussen
380, 1953 no. 41.
DKK 150.000 / € 20.000
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84
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Vilhelm Hammershøi
"Portræt. Knæ-Billede en face. Frk. Else Aagesens venstre
Arm hviler paa et med grønt Klæde bedækket Bord, yderst
tilhøjre. Den højre hviler i Skødet. Hvid udringet Kjole, bare
Arme.
Portrait. Three-quarter lenght, full face. Else Aagesen's left
arm is resting on a table covered by a green cloth to the
right in the painting. The right arm is resting in her lap.
White low-cut dress, bare arms. Signed and dated V. H.
Sophus Michaëlis and Alfred Bramsen, A Catalogue Raisonné of
the Works of Vilhelm Hammershøi no. 361.
Exhibited: Den Frie 1914 no. 98.
Literature: Sophus Michaëlis and Alfred Bramsen, "Vilhelm
Hammershøi - Kunstneren og hans værk", 1918, reproduced.
Provenance: Viggo Aagesen. Owned by the family of the sitter until
now.
DKK 1.000.000 / € 134.000
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59 CD
H. A. Brendekilde
b. Brændekilde 1857, d. Jyllinge 1942
A winter day in the forest with newly-fallen snow. Signed and
dated H. A. Brendekilde 93. Oil on canvas. 103 x 128 cm.
DKK 200.000 / € 27.000
86
60
60
Paul Fischer
Winter day in Kongens Nytorv with two elegant women.
DKK 450.000 / € 60.000
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61 CD
Johannes Larsen
b. Kerteminde 1867, d. s. p. 1961
Two shelducks with their ducklings. Signed with monogram and dated 1914. Oil on canvas. 94 x 131 cm.
Provenance: ABR auction 230, 1969 no. 698, reproduced p. 35.
DKK 100.000-150.000 / € 13.000-20.000
88
62 CD
Edvard Eriksen
"The Little Mermaid". Signed Edvard Eriksen.
Patinated bronze sculpture. H. 96 cm.
In 1913 "The Little Mermaid" was placed on Langelinie,
Copenhagen. The sculpture was financed by the brewer Carl
Jacobsen. Originally Jacobsen's plan was to place the sculpture
in an artificial waterbasin surrounded by an arrangement of
flowers. But after some time, Edvard Eriksen managed to talk
Jacobsen into placing the mermaid in a more natural
surrounding on a rock by the seaside. The figure is executed in
three different sizes, of which this one is half the size of the
original sculpture, thereby making it the largest of the three
bronze-variations excluding the one in 4/5 size displayed in
Osaka, Japan. In accordance with the artist's testament no
subsequent copies were to be made in the same size as “The
Little Mermaid” on Langelinie.
Literature: "Den lille Havfrue" (The Little Mermaid), Det
Berlingske Bogtrykkeri (printing house), 1960. Egon Eriksen,
"Edvard Eriksen og Den lille Havfrue" (Edvard Eriksen and
the Little Mermaid), 1998, mentioned herein, reproduced p. 25.
The Little Mermaid (Danish: Den lille havfrue) is a fairy tale by
the Danish poet and author Hans Christian Andersen about a
young mermaid willing to give up her life in the sea and her identity as a merperson to gain a human soul and the love of a human prince. The tale was first published in 1837 and has been
adapted to various media including musical theater and animated film.
DKK 300.000 / € 40.000
62
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Carl Holsøe
b. Århus 1863, d. Asserbo 1935
Interior with the artist's wife in a white dress. Signed
C. Holsoë. Oil on canvas. 53 x 50 cm.
DKK 150.000-200.000 / € 20.000-27.000
63
90
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Vilhelm Hammershøi
"Stue". I forgrunden til højre en hvid, åben dør. Længere
tilbage en anden dør som står åben ind til værelset bagved.
"A room". In the foreground to the right an open white
door. In the background another open door with a view into the room behind. 1913. Unsigned. Oil on canvas.
45 x 40 cm.
Sophus Michaëlis and Alfred Bramsen, A Catalogue Raisonné of
the Works of Vilhelm Hammershøi no. 364.
Provenance: The estate auction of the late Vilhelm Hammershøi
1916 no. 8, here with the title "Hvide Døre. Interiør fra Strandgade 25" (White doors. Interior from Strandgade 25). The address is
written on the stretcher too. Here bought by J. Chr. T. Levinsen.
DKK 1.000.000 / € 134.000
64
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Paul Fischer
A flower market in Højbro Plads in Copenhagen. Signed
and dated Paul Fischer 1916. Oil on canvas. 59 x 74 cm.
Provenance: ABR auction 221, 1968 no. 70.
DKK 400.000 / € 54.000
66
Paul Fischer
View of Borgergade in Copenhagen with people buying
apples from a salesman with a red cart. Signed and dated
Paul Fischer 1919. Oil on canvas. 75 x 58 cm.
DKK 500.000 / € 67.000
66
93
67
Paul Fischer
An interior with the artist's wife Musse and daughter Grethe.
DKK 300.000 / € 40.000
68 CD
H. A. Brendekilde
b. Brændekilde 1857, d. Jyllinge 1942
The first steps. Little sister gets help from her big sisters. Signed
and dated H. A. Brendekilde 92. Oil on canvas. 106 x 127 cm.
DKK 400.000-450.000 / € 54.000-60.000
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Vilhelm Hammershøi
Portrait of Karen Bramsen (1877-1970) who later married Gustav Falck, Art Historian and Director of Statens
Museum for Kunst (The Danish National Gallery). Halflenght portrait. Natural size. She is wearing a black velvet dress with a white collar. Under her right arm a violin. Painted in London 1898. Unsigned. Oil on canvas.
60 x 51 cm.
Sophus Michaëlis and Alfred Bramsen, A Catalogue Raisonné
of the Works of Vilhelm Hammershøi no. 174.
69
96
Exhibited: Kunstforeningen, "Arbejder af Vilhelm Hammershøi", 1916 no. 135.
Literature: Sophus Michaëlis and Alfred Bramsen, "Vilhelm
Hammershøi - Kunstneren og hans værk", 1918, reproduced.
Poul Vad, "Hammershøi - Værk og liv", 1988 reproduced p.
166.
Provenance: The collection of Alfred Bramsen, Author, and Gustav Falck, Director of Statens Museum for Kunst (The Danish
National Gallery), ABR auction 576, 1992 no. 139, reproduced p. 108.
Karen Bramsen (1877-1970) was the daughter of Alfred Bramsen and a violinist.
DKK 300.000-400.000 / € 40.000-54.000
70
Paul Fischer
Elegant Copenhagen girl in a black dress and hat trimmed
with white feathers walking in Øster Søgade near Søtorvet.
1898. Signed Paul Fischer. Oil on canvas. 64 x 39 cm.
DKK 350.000-450.000 / € 47.000-60.000
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L. A. Ring
b. Ring 1854, d. Roskilde 1933
"Roskilde Fjord. Vinter. Gule og brune Siv i Forgrunden. Udsigt
over Vandet mod Landsbyen Veddelev." Roskilde Fiord. Winter.
Yellow and brown rushes in the foreground. View across the water to the village of Veddelev. Signed and dated L. A. Ring 1920.
H. Chr. Christensen, A Catalogue Raisonné of the Works of L. A. Ring
no. 812.
Provenance: Chr. Larsen, Art Dealer.
DKK 60.000-80.000 / € 8.000-11.000
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72 CD
Peder Mønsted
b. Grenå 1859, d. Fredensborg 1941
Summer day at Lac Leman. Signed and dated P. Mønsted
Lausanne 1887. Oil on canvas mounted on panel. 53 x 86 cm.
DKK 250.000-300.000 / € 34.000-40.000
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73
Carl Holsøe
Interior with a woman dressed in white reading by
the window. Signed C. Holsøe. Oil on canvas.
78 x 66 cm.
DKK 250.000-300.000 / € 34.000-40.000
73
100
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Carl Holsøe
Sunshine in the living room. Signed C. Holsøe.
Oil on panel. 77 x 65 cm.
Exhibited: Charlottenborg 1928 no. 195 with the title
"Interiør" (Interior).
DKK 300.000 / € 40.000
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Christen Dalsgaard
b. Skive 1824, d. Sorø 1907
"Hellested Præstegaard". Hellested vicarage.
Signed and dated C. D. 1850. Oil on canvas.
25 x 31 cm.
Provenance: ABR auction 212, 1967 no. 53, reproduced p. 7. The collection of Frands Hougaard, Doctor.
Den Hirschsprungske Samling (The Hirschsprung
Collection) in Copenhagen has an almost identical
painting of the vicarage, that one painted in 1847
and with slightly larger dimensions (29 x 41 cm).
DKK 125.000 / € 17.000
76
Carl Thomsen
"De Nyforlovede". The newly engaged couple.
Signed with monogram and dated 1881. Oil on
canvas. 63 x 54 cm.
Provenance: Winkel & Magnussen auction 330,
1946 no. 289, reproduced p. 25, bought by "Kunstforeningen". Thorkild G. E. Larsen, Stockbroker, ABR
auction 309, 1974 no. 26, reproduced p. 42.
DKK 125.000 / € 17.000
76
103
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Paul Fischer
Winter day outside Glyptoteket in Copenhagen.
An elegant lady is crossing the street. Signed and
dated Paul Fischer 1919. Oil on canvas. 72 x 90 cm.
DKK 800.000 / € 107.000
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78 CD
Ole Ring
b. Baldersbrønde 1902, d. 1972
A winter day in the village. Signed Ole Ring. Oil on canvas.
71 x 104 cm.
DKK 50.000-75.000 / € 6.700-10.000
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79 CD
Bruno Liljefors
b. Uppsala 1860, d. Stockholm1939
Forest scene with a black grouse in a pine.
Signed and dated Bruno Liljefors 1931.
79
106
In Liljefors' later paintings animals blend into their
right environment in the landscape. The colour scale
is principally dominated by brown and ochre tones,
applied with a technique that evokes that of the
Impressionists with its light touches of pure colours
that can be seen in this painting.
Liljefors had an intimate knowledge of countryside
and wildlife and the relationship between the two.
After observing animals in their natural habitats,
Liljefors could with his paintbrush accurately convey their behaviour, anatomy and relationship with
the environment as can be seen in this painting as
well as in most of his production.
DKK 500.000 / € 67.000
107
Thursday 20 November at 6 pm
lot 101 - 187
101 CD
Vilhelm Lundstrøm
b. Copenhagen1893, d. s. p.1950
"Opstilling", (Still life), 1937. Unsigned. Oil on canvas.
140 x 105 cm.
Exhibited: "Kunst i privateje i Sønderjylland", Badmintonhallen,
Esbjerg, March 1957, cat. no. 84.
Exhibited: "Vilhelm Lundstrøm", Nordiska Konstförbundets Vandringsutställning", Aarhus Kunstmuseum; Esbjerg Kunstpavillon; Kunstnernes Hus, Oslo; Moderna Museet, Stockholm; Amos
Andersons Konstmuseum, Helsinki, November 1977 - May 1978.
Literature: Preben Wilmann & Marianne Brøns: "Lundstrøm",
1977, cat. no. 268, ill. full page in colours p. 254, mentioned pp.
246-248.
Literature: Gösta la Cour: "16 malere", 1958, reproduced p. 180.
Provenance: Sven Tobiesen, Hjerting, Denmark.
Provenance: Kunsthallen, Copenhagen, auction 406, October
1991, cat. no. 112, ill. on the frontpage of the catalogue.
Quote from "Wilmann & Brøns" pp. 246-248: "Hans Bendix
recalls that he [Lundstrøm] exclaimed one day: "You see, it's
about lifting yourself into the light. [original: Forstår du, det drejer
sig om at komme op i lyset.] In this there lies a proclamation of the
change his art underwent in relation to colour, the first steps of
which were taken in his pictures from 1937. Suddenly images were
saturated with strong light. An example is his composition shown
on page 254 (this painting). The intense orange of the table edge
and the unadulterated cadmium red of the under frame of the table
are powerfully complemented by all the blue, which is still the predominant hue but which in more ethereal form adds a flowing
sense of glow to the white housewares: good old-fashioned classics
such as the French enamel and faience jugs above the fruit dish.
The plastics of the shapes are still a style feature although less predominant. The shadows indicate several light sources and express
a sense of uncertainty as to whether they wish to remain caretakers
of classical order or whether they aspire to the liberties of abstract
composition. A new era has been heralded; one characterised, not
only for its sentiments, as being colourful'".
DKK 1.000.000 / € 134.000
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102 CD
Henry Heerup
b. Copenhagen 1907, d. 1993
"Livsfrise" (Life Frieze). Signed Heerup 41. Oil on canvas.
198 x 230 cm.
Exhibited: “Heerup 1940-45”, Heerup Museum, Rødovre, February
– May 2005.
Provenance: Purchased in person from the artist by the current owner’s father in the early 1950s. Not previously offered for sale. The
current owner’s father was a friend of Johan Møller-Nielsen, a folk
high school teacher and later arts critic at the Danish daily newspapers Socialdemokraten and Aktuelt. The two friends often visited Heerup in his allotment garden in Rødovre. During one of
these visits, the current owner’s father saw the painting hanging
outdoors under an overhang, which he thought was a shame. Despite clear instructions from his wife not to buy paintings, since
their means were limited, the canvas was rolled up and taken home
by the two men travelling by train. The price was DKK 300, which
was the equivalent of one month’s wage for the purchaser, who was
a newly graduated officer with the Civil Defence.
“Livsfrise” [‘Life Frieze’] (1941), which until now has been in private possession and, as far as can be established, has only been on
public display once, can with good reason be considered an
‘unknown’ principal work by Henry Heerup.
The monumental painting, which features a central female/womb
symbol, is an effervescent orchestration of almost all of Heerup’s later so celebrated motifs, symbols and themes: the heart, the cross, the
wheel of life and the foetus, which are symbols of fertility, life and
death, good and evil, love and war, edification and destruction.
110
As so often with Heerup’s art, life-embracing, humane values are
given prominence and weight. The highly ornamental composition
reflects Heerup’s declared admiration of the Jelling Stone and the
artisitc heritage of the Viking Age and medieval times, which also
preoccupied Asger Jorn all through the wartime years and onwards. Jorn saw Nordic artistic tradition as being in opposition to
the dominant classical European style. In an article in the periodical “Helhesten” from 1944, Heerup voiced the same opinion: “Den
Folkelige Kunst har i Al sin Enkelhed Ornamentet som Grundform” [“Folk art has in all its simplicity the ornament as its basic
form.”]. “Livsfrise” is a uniquely splendid example of Heerup’s seminal and deeply original contribution to the development of abstract art in Denmark and Europe of the 1940s.
1941, the year the painting was conceived, was the exact same year
Heerup became a member of the artist’s association “Corner- Og
Høstudstillingen”, which was the forerunner of the European
CoBrA movement. It was also the year in which the periodical
“Helhesten”, the principal voice of early abstract-expressionism in
Denmark, was issued with a cover drawing by Heerup.
The major Heerup exhibition in 2003 at the ARKEN Museum of
Art, Denmark, highlighted the vitalism and life-affirming allegories of fertility that characterised Heerup’s oeuvre. “Livsfrise”
(1941) is in size, ambition, complexity and execution comparable
to the principal work of the exhibition featured on the cover of the
catalogue “Figurkomposition (Sindbillede)” [‘Figure Composition
(Emblem)’] (1942), which at Bruun Rasmussen fetched a record
price for a Heerup painting in 1996.
DKK 800.000-1.000.000 / € 107.000-134.000
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103 CD
Robert Storm Petersen
b. Valby 1882, d. Frederiksberg 1949
"Cirkusgarderoben" (The circus dressing room), c. 1925.
Signed R. Storm P. Oil on canvas. 131 x 97 cm.
Literature: Professor, Dr. Phil. Frithiof Brandt: "Robert Storm
Petersen- Malerier og tegninger", ill. p. 25.
Provenance: Grosserer Aage Jensen.
Provenance: Private Collection, Denmark.
The stage is set and the evening performance is about to begin. A
ballerina prepares herself behind the curtain. A clown gets dressed
and a little dog is sitting ready in his red uniform. The
audience is a motley assembly of individuals, including society
ladies to lonely workers, but they all share an enthusiasm for
the evening's amusement.
The painting is humorous but at the same time offers a very reflective depiction of "the circus of life", which Storm P defined with the
following words: "Life is a circus. You make your entry, bow and
run around - and then leave!" The circus of life or the circle of life,
if you prefer is the theme of this painting. For in the eyes of the arts,
the circus ring is a mirror of life: "with the only difference that outside the circus everything is taken seriously. At least in the circus
ring performers know they are clowns and buffoons, players in a
grotesque game." The following witty dialogue in one of his comic
strips, entitled "Fluer" ["Flies"], echoes this notion: "Isn't being a
clown a peculiar occupation? No, not when you know you're one!"
(Professor Frithiof Brandt: "Robert Storm Petersen - Malerier og
tegninger", ["Robert Storm Petersen - Paintings and Drawings" ]
p. 28.
DKK 500.000 / € 67.000
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104 CD
Helene Schjerfbeck
b. Helsinki 1862, d. 1946
A portrait of a young woman in a blue dress. Signed H. S.
and dedicated to: "Á Ulla Stenman". Charcoal and washed
watercolour on paper. Visible size 44 x 35 cm.
Provenance: Art dealer Stenman's collection.
The portrait representing a young woman in a blue dress with white
collar has been painted on yellowed lithography paper. Behind the
sheet there is seen a part of Helene Schjerfbeck's lithograph "At the
Hearth", which was printed in 1938-39 (see Helene Schjerfbeck,
The Finnish National Gallery Atheneum, 1992, p. 260, no. 424).
Therefore this pastel could not be executed until 1938.
Ulla (Putte) Stenman (later Ulla Fock) may refer to Gösta Stenman's
daughter. However, in another of Schjerfbeck's portrait of Ulla Fock
(1943) she looks quite different (see image Helene Schjerfbeck, The
Finnish National Gallery Ateneum, 1992, p. 96, nr 476).
The stylized portrait with charcoal and washed watercolour manner
is fairly typical for Helene Schjerfbeck.
DKK 500.000-600.000 / € 67.000-80.000
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105 CD
Robert Jacobsen
b. Copenhagen1912, d. Egtved 1993
Construction. C. 1951. Signed RJ, 134. Black painted
iron. H. 47 cm. L. 34 cm. D. 31 cm.
During Robert Jacobsen's stay in Paris in the 1950s the artist
offers a new approach to the heavy tradition of massive sculptural
presence to give his artworks the character of three-dimensional
figures penned in space. With these stringent forms rendered in
black, Jacobsen placed himself centrally on the international art
scene and became one of the most successful of the circle of artists
devoted to Concretism at Galerie Denise René.
DKK 400.000-600.000 / € 54.000-80.000
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106 CD
Gerda Wegener
b. Hammelev 1885, d. Frederiksberg 1940
"Sur la route d'Anacapri". On the road to Anacapri. The artist
and her husband Einar Wegener in an Italian landscape. He
is dressed as a woman. Signed and dated Gerda Wegener
DKK 75.000-100.000 / € 10.000-13.000
107 CD
Kaj Gottlob
Unique cabinet of rosewood. Front in four sections, each with
two doors mounted with brass fittings and with rossette inlays
and handles of ivory. Interior of birch. Upper left section
fitted with 10 drawers, upper right section arranged as a barsection, lower two sections with shelves. Body mounted on
two curving plinths. Designed 1936. Made 1937 by cabinetmaker A. J. Iversen. H. 140. D. 43. B. 130 cm.
Exhibited: Copenhagen Cabinetmakers’ Guild Exhibtion 1937.
Museum of art and design, Copenhagen Denmark.
Exhibited: "Masterpieces- Danish art of cabinetmaking", Kronborg,
Helsingør, Denmark October-December 2000.
Literature: Bodil Busk Laursen, Søren Matz & Christian Holmsted
Olesen [ed.]: "Mesterværker - 100 års dansk møbelsnedkeri", 2000, pp
30-31.
Literature: A.J Iversen, Magnus Stephensen & Sigurd Schultz
(ed.):"Møbelhåndværk gennem 25 år,- A. J Iversens snedkervirksomhed 1916-1941", 1941. Reproduced p. 15.
Provenance: The cabinet was never sold by Cabinetmaker A. J Iversen.
It was in his personal use and has remained with the Iversen family
until now.
DKK 250.000-300.000 / € 34.000-40.000
106
116
107
117
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Finn Juhl
b. Copenhagen 1912, d. Ordrup 1989
"Chieftain Chair". Easy chair with frame of rosewood.
Upholstered with original patinated natural leather on
seat, back and armrests. Designed in 1949. Made and
stamped by cabinetmaker Niels Vodder.
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118
Literature: Grete Jalk [ed.]: "Dansk Møbelkunst gennem 40
aar", 1987, vol. 3, mentioned p. 124-125.
Literature: Noritsugu Oda: "Danish Chairs", 1999, mentioned
p. 92.
Literature: Arne Karlsen: "Dansk Møbelkunst i det 20. århundrede", 1993, vol. 2, mentioned pp. 186-189.
Literature: "Finn Juhl Memorial Exhibition", 1990, mentioned pp. 56-57.
Literature: Esbjørn Hiort: "Arkitekten Finn Juhl", Arkitektens
Forlag, 1990, mentioned pp. 40-41. On p. 40 with the following remark: "For the Copenhagen Cabinetmakers’ Guild
Exhibition in 1949 Finn Juhl designed the chair that became
known as the "Chieftain Chair". It is probably the most characteristic of all his pieces of furniture. It did however then not
receive undivided recoqnition among the critics, but today
most agreee that it is among his masterpieces. At the 1949 exhibtion Finn Juhl showed, that in shaping the wooden frame
of the chair, he had been inspired by the shapes of weapons
and everyday utensils of indigenous people. If that was, why
the chair got its name is unknown. Finn Juhl has himself told,
that a journalist at the opening of the 1949 Exhibtion, had
asked him, since the Danish King Frederik IX had sat in the
chair, if the chair now should be called "The Kings Chair".
Finn Juhl had found that too pretentious, and replied "You
should rather call it a Chieftain Chair" , which the Jounalist
then did".
DKK 300.000 / € 40.000
109 CD
Tove og Edv. Kindt-Larsen
Unique chest of drawers. Striped front and sides veneered with alternating bands of rosewood and Cuban mahogany. Top of African Mahogany. Curving
lower edge on body of chest. Legs with tall "shoes"
of brass. Designed 1947. Made in 1947 by Cabinetmaker Gustav Bertelsen. H. 95. W. 97,5. D. 49,5 cm.
Exhibited: Copenhagen Cabinetmakers’ Guild Exhibtion
1947. Museum of Art and Design, Copenhagen Denmark.
Exhibited: "Masterpieces- Danish art of cabinetmaking",
Kronborg, Helsingør, Denmark October-December 2000.
Literature: Grete Jalk [ed.]: "40 Years of Danish Furniture
Design", 1987, vol. 3, ill. p. 8-9.
Literature: Povl Christensen and Håkon Stephensen [ed.]:
“The Craftsmen show the way", 1966, illustrated p. 48.
Literature: Bodil Busk Laursen, Søren Matz and Christian
Holmsted Olesen [ed.]: "Mesterværker - 100 års dansk møbelsnedkeri", 2000, illustrated p. 27.
Literatur: Frederick Sieck [ed.]: "Dansk Møbelkunst", 1990,
ill. p 144.
Provenance: Aquired directly at the exhibition in 1947 by
previous owner, then in private collection until now.
This unique chest of drawers is one of the most iconic,
celebrated and referenced pieces of Danish furniture of all
periods. It has been featured in almost all major referenceworks on handcrafted Danish modern furniture. It was
first presented at the Copenhagen Cabinetmakers’ Guild
Exhibtion in 1947. Here is it was received with the following comment by two contemporary critics: " Year in and year
out, the partnership between the architects Tove and Edvard Kindt-Larsen and Cabinetmaker Gustav Bertelsen
yields a number of carefully prepared and highly cultured
pieces of furniture, and each time the Kindt-Larsens introduce a new concept of design. This year, it was a sligthly
rococoish chest of drawers which attracted the most attention" and : "As a little extra treat the Kindt-Larsens exhibited a striped chest of drawers made of different kinds of
wood - a very graceful affair...".
DKK 250.000-300.000 / € 34.000-40.000
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119
110 CD
Jacob Hermann
b. 1910, d. Ulfborg 1995
Very long unique table / bench of solid walnut. Top with visible
joints and "butterfly" reinforcement in top. Bench designed and
handcrafted between 1958-61 by Jacob Hermann personally.
Signed monogram JH. H. 53,5. L. 350. W. 54 cm.
Jacob Hermann’s works as a designer are characterized by an internal
tension between a sensitive artistic mind and a delicate understanding
of the craft of cabinetmaking.
Jacob Hermann only designed and made/had made few pieces of
furniture. His designs span from classical English inspired models in the
tradition of Kaare Klint to pieces which in their execution and form
point more to contemporary Peder Moos, but where the design language
has a more powerful "nature" appearance. It can propably best be
compared to the pieces by Nakashima. The bench is a unique piece that
Jacob Hermann personally made for his partner and girlfriend Birthe.
Provenance: Jacob Hermann, private collection in Denmark.
DKK 150.000-200.000 / € 20.000-27.000
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120
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Poul Kjærholm
b. Vester Vrå 1929, d. Copenhagen 1980
"PK-12". A pair of armchairs with frame of chromed steel
and seat of patinated cognac coloured leather. Armrest
and back with leather braid.
Designed 1964. Each stamped to the rear seat rail
"Denmark". Manufactured by E. Kold Christensen. (2).
111
Literature: Michael Sheridan [ed.]: "Poul Kjærholm - Furniture
achitect", 2006. A similar example of this chair illustrated p.
118.
The present pair of chairs is the very rare variant with leather
braid not only to the tubular steel pipe that forms the armrests and
front legs, but also to the steelpipe that forms back legs and back
support. This variant of a PK-12 has not previously been offered
for sale.
DKK 250.000-300.000 / € 34.000-40.000
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112
Tom Wesselmann
b. 1931
"Study for Documenta Foot Print (68-8)", 1968. Signed, titled
and dated on the reverse. Oil on canvas. 20 x 20 cm.
Provenance: Sydney Janis Gallery, New York (numbered # 12292
on a gallery label on the reverse).
Provenance: Private Collection.
Between 1965 and 1970, Tom Wesselmann continuously worked
on a series of paintings called the "Bedroom Series". Here the artist
isolated or combined elements from his characteristic imagery: Still
life, landscapes, and not least his series of iconic female portraits
with the collective title "The Great American Nude" on which he
started in 1961. In these paintings the artist emphasises individual details of the models, such as the hands, feet, and bosom.
Tom Wesselmann's name is inextricably associated with the American
Pop Art movement of the 1960s and names such as Jim Dine, Roy
Lichtenstein, James Rosenquist and Claes Oldenburg. However,
Tom Wesselmann resisted such labelling and emphasised his focus
on the aesthetic representation of everyday motifs rather than
maintaining criticism of consumer society: "I dislike labels in general and 'Pop' in particular, especially because it overemphasises
the material used. There does seem to be a tendency to use similar
materials and images, but the different ways they are used denies
any kind of group intention.".
DKK 550.000-600.000 / € 74.000-80.000
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112
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Mel Ramos
b. 1935
"Red Fox", 1971. Signed, titled and dated on the reverse.
Literature: Donald B. Kuspit: "Mel Ramos Pop Art Fantasies: The
Complete Paintings", Watson-Guptill, New York, 2004, ill. p. 142.
Provenance: Galleri Östergren AB, Malmö, Sweden.
Since the mid 1960s, Mel Ramos has developed his own kind of pop
art, typically with nude models placed decoratively in relation to
consumer goods of over dimensioned size and wild animals. In his
paintings, he makes use of the images of advertising and mass culture, often achieving a humorous and poster-like effect. Together
with Ed Ruscha and Wayne Thiebaud, Mel Ramos is one of the leading pop artists of the American West Coast.
DKK 2.500.000 / € 335.000
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113
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Richard Artschwager
b. 1923
"The Kitchen", 1971. Signed, titled and dated on the reverse.
Acrylic on celotex. 111 x 144 cm.
Provenance: Leo Castelli Gallery, New York.
Richard Artschwager's paintings are near-photorealistic representations of everyday objects rendered with the monochrome palette of grisailles. Richard Artschwager is known for his unorthodox use of materials, which is also expressed in the catalogued painting "Kitchen"
from 1971. The acrylic paint is rendered on Celotex, which is a material made of dried and compressed sugarcane fibres that features a
sandpaper-like surface. This material invites interesting modulations
when applying the paint. Artschwager describes the use of Celotex
with the following words: "For me it has been sometimes a useful art
material in that it liberates drawing from the handheld and allows it
to move into a space more commonly occupied by [canvas] paintings.
It keeps the intimacy because of its paper-like characteristics, but
allows it to operate at a greater physical, thereby mental, distance
because of its magnified coarseness" (R. Artschwager, A Note on
Celotex, Connections: Richard Artschwager, Boston, 1992, n.p.).
DKK 2.800.000-3.200.000 / € 375.000-430.000
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114
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115 CD
Michael Kvium
b. 1955
"Outline painting I", 1998. Unsigned. Oil on canvas.
200 x 150 cm.
Exhibited: "Michael Kvium. Jaywalking Eyes", ARoS - Aarhus Kunstmuseum, January- April 2006, ill. in cat. p. 35 and on the cover.
Provenance: DCA Gallery, New York.
Literature: Lennart Gottlieb: "Michael Kvium. Malerier og motiver",
ill. p. 168.
"Outline painting I" was the designated icon of the exhibition entitled
"Michael Kvium. Jaywalking Eyes" at ARoS Aarhus Art Museum
(2006).
A large image of the painting was shown on the facade of the museum
building. It featured on the cover of the catalogue for the exhibition.
The painting also featured in folders, postcards and banners advertising the exhibition. A copy of the catalogue "Michael Kvium.
Jaywalking Eyes" with the dedication: "Til dig med det røde kærligst
Kvium" ["For you with the red, with love Kvium"] is included.
DKK 800.000 / € 107.000
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Edward Ruscha
b. 1937
"Stains". Signed E. Ruscha 1970. Gunpowder and pastel on
paper. Sheet size 58,5 x 74 cm.
Provenance: Leo Castelli Gallery, New York.
Preoccupation with the written word is a defining character of Edward Ruscha's oeuvre. By isolating words and text fragments the
artist offers new graphical perspectives and new reflections on their
artistic significance. The artist enjoyed limited exposure to art
during in his childhood but like other American Pop-Art artists he
became immensely preoccupied early in his career with ubiquitous
expressions of pop culture: comic strips, typography, book design
and advertisements. When Ruscha settled in Los Angeles in 1956,
he found work as a sign writer and graphic designer while working
as a typographer for an art book publisher. Ruscha belonged to the
inner circle of artists associated with the legendary Ferus Gallery
behind such seminal exhibitions as Andy Warhol's breakthrough
exhibition in 1962 that featured "Campbell's Soup Cans". His
intellectual investigation of semantics differentiates Ruscha from
other Pop-Art artists but his reference point was nonetheless popular culture. The artist's recurrent motif with words suspended freely in an undefined space draws on a personal memory of driving
along Route 66 from his hometown to Los Angeles where gigantic
billboards would sporadically interrupt the horizon, as punctuations
on the landscape that gradually grow in size before they wiz pass
the windows of the car. The word "Stains" furthermore explicitly
refers to the group of works entitled "Stains" created in 1969 (The
Museum of Modern Art, New York). In these works the artists
allowed a number of different materials to sink into the paper:
"The idea of using something that stains rather than a paint that
sits on the surface of a canvas was a discovery for myself at the time.
So there is everything from wine stains, coffee stains, L.A. tap
water that's almost invisible - lots of 'em, lots of stains".
DKK 2.500.000 / € 335.000
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116
131
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117
Andy Warhol
b. 1930, d. 1987
"Queen Margrethe II". "Reigning queens (Royal Edition,
Diamond Dust)", 1985. Suite of four silkscreens in colours
with diamond dust. Signed Andy Warhol, R 4/30. Printed
132
by Rupert Jasen Smith, New York. Published by Mulder,
Amsterdam. Sheet size 100 x 80 cm. (4).
Literature: Feldman & Schellman no. 11. 342-345, ill. p. 140.
DKK 500.000 / € 67.000
117
117
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118 CD
Tal R
b. 1967
"Nej, er det nye ja" (No is the new Yes), 2007. Signed on
the reverse Tal R, 2007. Oil on canvas. 385 x 385 cm.
Exhibited at: “Danskjävlar”, Kunsthal Charlottenborg, Copenhagen, January – March 2008.
Literature: Depicted in “Kopenhagen.dk; aktuel information om
samtidskunst”, 16 January 2008; interview with the Director of
Kunsthal Charlottenborg, Bo Nilsson.
Provenance: Contemporary Fine Arts, Berlin.
Even before graduating from the Royal Danish Academy of Fine
Arts in 2000, Tal R had made his mark as an innovative, stylesetting, accessible, resolved and widely experimental painter. The
artist has on several occasions described his style and his entire
artistic project with reference to the Jewish kibbutz tradition
kolboijnik, i.e. to make a festive dinner of leftovers. He elaborated
his views of the concept – and his art – in an interview in which
he identified the ‘ingredients’ in his work as the baggage we carry
through life: “ (...) you were brought up in Brøndby, you attended
some school or other, you played football somewhere, and you were
slapped in the face by some guy or some girl or other. It’s [about]
the things you have never asked for but which happen to be there;
where you come from; things that you carry around and which are
useful. That is what I call kolboijnik. But then there is also something else; something that all people need – to express themselves.
We are generally used to institutions taking care of art training
since it’s the institutions that are the guardians our cultural heri-
134
tage. But each of us carries a story too. Not a literary story about
where you come from but about being human: having a body,
an ass, a spine. That’s what pictures are generated from! (Source:
Ferdinand Ahm Krak: “Interview: Tal R”, September 2007,
www.kopenhagen.dk).
In another interview Tal R has spoken about the painting as medium: “Every time a painting tries to add its voice to current public
debate it becomes the funniest clown in the ring. It [a painting]
lacks social commitment and is, when all comes to all, just a piece
of canvas, some sticks and some paint that dries on the canvas.
The painting has no influence. It’s like fencing with a serviette rather
than a sword. But the painting can create the most amazing
things with simple means. The paint is a kind of coloured mud
that can say something fantastic, and I like that. In my art I operate with three layers. First of all I use the white canvas, secondly
there is the ‘mud’ that creates the vision that allows people to use
the painting as a window, and thirdly there is the object – some
white sticks and a canvas. To me a painting isn’t an object that
occupies a territory (...) but rather an object that carries a number
of decisions and some visions (...). The painting is a small serviette
in a sword fight. And art is a tiny little fraction of human life. It’s
a silly little thing to crate pictures. And all the same it’s something
very fundamentally human since it embraces spirituality and the
body”. (Source: Lisbeth Bonde: “Golem - Interview with Tal R”,
January 2004, www.lisbethbonde.dk)
DKK 1.200.000-1.500.000 / € 161.000-201.000
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119 CD
Olafur Eliasson
b. 1967
"Islandsserien" (The Iceland Series), 2000. All signed, titled
and dated on the reverse Olafur Eliasson 2000 1/1. Three
photographs in colours. Each 60 x 90 cm. (3).
Exhibited: "Stalke Out Of Space - 10 års jubilæumsauktion 19912001", Galleri Stalke, 2001, ill. in the cat. p. 36-37, mentioned
p. 33-35. The work was executed especially for Galleri Stalke’s
jubilee exhibition and has not been offered for sale since.
136
Birgitte Kirkhoff writes about the series in the above mentioned
catalogue:
"Iceland serie 2001 by Olafur Eliasson makes the relation between
nature and culture explicit. Three large photographs show greenhouses in the Icelandic landscape. The greenhouses are placed on
top of hot springs that produce enough energy for a production of
fruits and vegetables to feed the entire Icelandic population. The
greenhouses are lit from the inside and almost look like spaceships
that have landed in the landscape. Their geometric structures
stand out from the organic forms of nature, but in a way that also
accentuates the latter. The tremendous power, mysteriousness and
mythology of Icelandic nature finds its counterpart in the cultural
and alien elements represented by the greenhouses. The greenhouses
maintain an artificial naturalness which is paradoxical and
ironic. Olafur Eliasson works with the elements of nature (water,
air, light and earth) and the point of departure of his works are
problems of representations, like the opposition between nature and
culture, inside and outside. Different kinds of scientists, engineers
and architects often participate in the production of his installations.
They are all specialists who work with the displacement of scale, representation and models. Focus is on the experience of the viewer
and sometimes he or she will find nature more real, beautiful and
overwhelming by watching the representation than by actually
being in nature. Nature is staged as a piece of fiction - with the
viewer as the centre - and this fiction might influence the viewer's
future experiences of nature and stimulate him or her to adopt an
aesthetisized view on the familiar surroundings".
DKK 400.000-500.000 / € 54.000-67.000
137
120
Robert Stanley
b. 1932, d. 1997
"Gabriella #427". Signed R. Stanley '90; signed, titled and
dated on the reverse. Oil on canvas. 165 x 178 cm.
Robert Stanley was born in Yonkers, N.Y., in 1932. After attending Columbia University for two years, he received a bachelor's
degree in English literature in 1953 from Oglethorpe College in
Atlanta and studied art at the High Museum of Art. Back in New
York, he first worked in collage. In the early 1960's, he began to base
his paintings on images clipped from newspapers and magazines,
following the example of Pop artists like Andy Warhol and Roy
Lichtenstein, who would become his brother-in-law. His preferred
subjects, including rock stars, sporting events and pornography,
always seem to grate against the pretenses of high art. In the late
1960's the artist started using his own photographs, basing paintings on images of tree branches or the ground, and also using
pictures of life-drawing models at the School of Visual Arts, where
he was a faculty member for 16 years. His work is represented in
many public collections, including the Museum of Modern Art,
the Metropolitan Museum of Art and the Whitney Museum of
American Art.
DKK 225.000-275.000 / € 30.000-37.000
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Urban Jürgensen gentleman's wristwatch of platinum, ref.
8. Automatic movement with date. Hand decorated dial
with Roman hour markers, so-called observatoy central
hands and constant seconds at "6"-marker. Caseback of platinum. Original crocodile strap with partial platinum. Case
diameter c. 35 mm. 2001.
DKK 100.000 / € 13.000
122
Urban Jürgensen gentleman's wristwatch of platinum, reference 3. Automatic movement with perpetual calendar,
moon phase and power reserve indicator. Silver dial with
hand decorated guilloché decoration, Roman hour markers
and handmade so-called Observatory central hands. Day
by the "9"-marker, moon phase and power reserve indicator
by the "12"-marker, month by the "3"-marker and date by
the "6"-marker. Original Urban Jürgensen crocodile strap
with platinum buckle. No 23 of a limited production of 50.
Case diam. 37 mm. Original case included. Circa 2005.
DKK 350.000 / € 47.000
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121
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125
123
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An Art Deco diamond bracelet set with numerous older
pear-shaped and brilliant-cut diamonds weighing app.
50.00 ct., mounted in white gold. L. 16.5 cm. SGL certificate
and case included. France, circa 1920.
DKK 400.000-450.000 / € 54.000-60.000
124
A pair of diamond earstuds each set with a brilliant-cut
diamond weighing app. 4.55 ct., totalling app. 9.11 ct.,
mounted in 18k white gold. SGL certificate included. Circa
2000. (2).
DKK 300.000-350.000 / € 40.000-47.000
125
A diamond necklace set with numerous pear-shaped,
brilliant- and marquise-cut diamonds weighing app. 80.00
ct., mounted in 18k white gold. Colour: Top Wesselton
(F-G). Clarity: VVS-SI. L. 42 cm. SGL certificate included.
Italy, circa 1960-80.
DKK 800.000-1.000.000 / € 107.000-134.000
141
126
A pair of Danish early baroque silver small candlesticks, on
stepped square bases with cut corners. Maker Jens Pedersen
Komløv, Copenhagen townmark 1724, assay master
Conrad Ludolph 1679-1729. Weight 450 gr. H.14.5. (2).
DKK 80.000-100.000 / € 11.000-13.000
126
142
127
An early Danish baroque silver tureen and cover, oval body,
finial in the shape of a twisted snake, two handles in the
form of bird's heads, lid and body abundantly embossed,
the underneath inscribed with scratchweight Vog 78 Lod.
Maker Daniel Madsen Werum, Copenhagen townmark
1722, assay master Conrad Ludolph 1679-1729.
Weight 1135 gr. L. 35.
DKK 300.000 / € 40.000
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Theophilus Hansen
b. 1831, d. 1891
Armchair of mahogany polished oak, richly
carved with ornaments. Denmark, c. 1840.
Literature: Miriam Gelfer Jørgensen. "Guldalderdrømmen", p. 459- 463.
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144
Theophilus Hansen was trained at the Royal Danish
Academy of Fine Arts under C.F. Hetsch who tutored
and inspired him. He graduated from the academy
with a Gold Medal. Most of his body of work lies
within architecture and he achieved great international recognition with his architectural designs in
Vienna and Athens. He was one of few architects to
bridge the transition between late classicism and
early historicism. Knowledge of his historicist furniture design is limited, however. Only few examples
can with certainty be attributed to Theophilus Hansen.
The chair in mention is known from a draft in the
Hetsch Collection at the Danish Museum of Art
and Design. The draft was executed by Christian
Hetsch and carries the inscription "comp. Th.
Hansen." There are, however, discrepancies between
the chair and the draft. The chair is embellished
with fine festoons that constitute the "ears" of the
chair. According to the current owner, the chair
originates from the Scavenius family, which commissioned Hetsch to design a room interior for their
manor, Klintholm. The interior was executed between
1837 and 1840.
DKK 125.000 / € 17.000
129
A pair of Danish Louis XVI black painted beechwood armchairs, designed by C.F. Lillie, decorated with gold ornaments
and sceneries in colours. Late 18th century. (2).
Five armchairs and a settee have been preserved. They were acquired
in 1797 by chandler Thøger From, who furnished his property on the
corner of Frederiksborggade and Rosenborggade, which served as his
home and shop from 1794 until his death. According to family legend, Thøger From purchased the set from Lillie. The company was
continued by Thøger From’s heirs in the same building until 1912
when the last proprietor died, Merchant Johannes Michael Holm. The
two catalogued chairs were bequeathed to Holm’s oldest son, Sophus
Thøger From Holm, who in turn passed them on to his daughter,
Benedicte Helweg. Reproduced and referred to in Tove Clemmensen’s:
“Møbler af N.H. Jardin, C.F. Harsdorff og J.C. Lillie”. Copenhagen
1973, plate 149.
DKK 30.000-40.000 / € 4.000-5.400
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129
130
A small Jens Villadsen Bundgaard black painted
wood bracket clock, movement with brass dial
and chapter ring of pewter. Signed Bundgaard,
Frÿsenborg. Denmark, 18th century.
H. 27 cm. W. 13 cm. D. 8 cm.
DKK 100.000-150.000 / € 13.000-20.000
145
131
146
131
An Italian Louis XVI gilt wood console table with top
of veneered marble in geometrical design in colours,
apron carved with lion masks, rosettes and foliage,
turned tapering and fluted legs. Late 18th century,
probably Tuscany. H. 94 cm. W. 145 cm. D. 77 cm.
DKK 150.000 / € 20.000
132
A large Empire Russian or French 24-light gilt-bronze chandelier, decorated with twelve angles each holding two curved
candle arms. Early 19th century. H. 160 cm. Diam. 100 cm.
DKK 200.000 / € 27.000
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147
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A pair of French Empire gilt- and patinated bronze figures in the
manner of Thomire, Cupid and young woman in classic drapery,
square bases with rosettes and laurels. Circa 1830. H. 33 cm. (2).
DKK 125.000 / € 17.000
134
A pair of French Louis XVI green marble and gilt bronze vases,
cast with Classic women in scenery, square bases of white marble.
Late 18th century. H. 47 cm. (2).
DKK 100.000 / € 13.000
148
134
135
A Danish Rococo walnut mirror, decorated with gilt-wood
carvings in the shape of rocailles, flowers and foliage. Mid
18th century. H. 128 cm. W. 61 cm.
DKK 40.000 / € 5.400
135
149
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A pair of Gustavian gilt-wood mirrors with flowers and foliage
carvings, each with two scrolled brass candlearms. Sweden, late
18th century. H. 78 cm. W. 55 cm. (2).
Provenance: Prince Georg and Princess Anne. Previously sold at
ABR auction 500, 1987, lot 1013.
DKK 75.000-100.000 / € 10.000-13.000
150
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A pair of Swedish gilt wood console tables with Ölands
marble top. Late 18th century - early 19th century. One
probably later. H. 83 cm. W. 115 cm. D. 50 cm. (2).
The console tables originate from the Swedish Ekolsund Palace,
which reaches back to the 1300s. In 1747, the castle was
purchased by Heir Presumptive Adolf Frederik as the seat of newborn Prince Gustav, later King Gustav III of Sweden, who frequented the palace in the early years of his reign. Several sources
mention it as having been his favourite place of residence. The palace has undergone restructuring and refurbishment several times,
by architects such as C.F. Adelcrantz and J.E. Rehn.
DKK 200.000 / € 27.000
137
151
138
152
138
A rectangular Schleswig faience tea tray, decorated in underglaze blue with flowers bordered with rocailles. Underneath
engraved N:3. SL and Lücke in blue paint. 18th century. 81
x 54 cm. Rococo table, white-painted and gilt wood, sides
with two extension leaves, cabriole legs. H. 72. W. 55 cm.
Provenance: The manor Gjorslev.
DKK 80.000-100.000 / € 11.000-13.000
139
A Danish "Langeland" walnut and marquetery Rococo
chest, curved break front with four drawers, black painted
base. Presumably made by Jørgen Nielsen "Blomsnider".
Mid 18th century. H. 116 cm. W. 123 cm. D. 64 cm.
DKK 50.000 / € 6.700
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140
154
140
A pair of large gilt-wood theatre lamps, each with 15 curved candlearms of gilted metal, hung with crystal prisms.
Second half 19th century. H. 245 cm. (2).
DKK 200.000 / € 27.000
141
A Norwegian Rococo gilt-wood mirror and
console, curved top of white marble, carved
with openwork ornaments and busts. Mid
18th century. Mirror H. 180 cm. W. 73 cm.
Consol H. 72 cm. W. 72 cm. D. 45 cm. (2).
DKK 75.000-100.000 / € 10.000-13.000
142
A Norwegian Rococo gilt-wood mirror and
console, curved top of white marble, carved
with openwork ornaments and busts. Mid
18th century. Mirror H. 137 cm. W. 60 cm.
Consol H. 80 cm. W. 72 cm. D. 45 cm. (2).
DKK 75.000-100.000 / € 10.000-13.000
141
142
155
143
A French walnut Rococo sofa, curved apron
carved with flowers and foliage, cabriole legs.
Mid 18th century. L. 200 cm.
DKK 25.000-30.000 / € 3.400-4.000
143
156
144
A French Louis XV style rosewood and gilt bronze
mounted bureau plat, curved top inlaid with gold printed
brown leather, front with three drawers, cabriole legs, the
mounts with Oriental female busts. Second half 19th
century. H. 80. W. 190. D. 98 cm.
DKK 300.000 / € 40.000
144
157
145
A large Louis XVI crystal and gilt-bronze twelve-light chandelier, hung with clear and amethyst prisms in chains and
cascades. Denmark or Russia, late 18th century. H. 190 cm.
Diam. 100.
Literature: Christian Waagepetersen: “Lysekroner i Skandinavien
fra gotik til klunketid” (Chandeliers in Scandinavia from Gothic
to Victorian Style). Fig. 54 depicts a similar crystal chandelier in
the Rosenborg Collection, possibly from either Frederiksberg Palace
or Amalienborg Palace. This crystal chandelier is believed to be of
Danish origin.
DKK 300.000 / € 40.000
158
145
147
146
A Russian Louis XVI crystal, blue glass and gilt-bronze four-armed
chandelier, with spears and hung with crystal prisms in chains.
Late 18th century. H. 85 cm. Diam. 62 cm.
DKK 200.000 / € 27.000
146
147
A pair of French Louis XVI blue glass and gilt bronze candelabra,
decorated with foliage and rosebuds, square bases of white marble.
Late 18th century. H. 40 cm. (2).
DKK 100.000 / € 13.000
159
148
A pair of large South German Rococo blue and whitepainted terracotta urns on stands, after the design by
Franz Xaver Haberman (1721-1796). Each baluster
form urn with flowers and scrolling foliage surmounted
by a rocaille and flanked by scrolling arms, on a triform
base sheathed with rocailles and scrolls on claw and ball
feet. Augsburg, mid 18th century. H. 173 cm. W. 92 cm. (2).
After visiting Italy, Franz Xaver Haberman, the Sculptor, Designer
and Engraver, settled in Augsburg in 1746, where he produced
over 500 prints covering a wide range of designs for furniture,
silver, ironwork, carriages, organs and altars. He was also influential through his position as professor of drawing at the
newly founded School of design in Augsburg, a post he held
from 1781 until his death.
DKK 350.000 / € 47.000
148
160
149
Flemish allegorical tapestry of Winter from a Series of
the Four Seasons. In the foreground master and
mistress in a cane crossing the frozen lake with skaters in
the back Executed in Antwerp on Ludwig van Schoor's
cartoons after Jan van den Hecke. Brussels, c. 1720.
W. 270 cm. H. 234 cm.
Jan van den Hecke, highly appreciated baroque still life painter.
(Belgian/Flemish1620-1684)
Ludwig van Schoor, designer.(Flemish 1666-1726).
DKK 250.000 / € 34.000
149
161
150
Schleswig faience tea tray, presumably painted by
Boerre Odewald, rectangular with rounded corners, decorated in underglaze blue with hunters
in landscape, having caught a wild boar, architecture in the background. Motif surrounded by rocailles, border with grapes and foliage. Back engraved with 6. North Germany, c. 1761-1765.
43 x 63.
DKK 200.000 / € 27.000
150
162
151
A pair of Danish gilt wood and walnut Rococo
commodes, tops of Norwegian Gjellebæk marble.
Mid 18th century, newly restored, some legs restored. H. 80 cm. W. 66 cm. D. 47 cm.
Most likely from the workshop of Mathias Ortmann.
Marble is still quarried at some locations in Norway,
but there is no longer any Gjellebæk marble of the type
introduced in the 18th century into Danish stately
homes.
DKK 600.000 / € 80.000
151
163
152
164
152
French tapestry attributed to Francois Boucher, Paris;
"The Chinese series" (the second series), madame
instructing her Chinese servants how do the garden and
decorate the pavillion. 18th century. W. 318. H. 238 cm.
The first Chinese Series (Tenture chinoise) to be woven at the
Beauvais Manufactory, now called The Story of the Emperor of
China, was proably designed about 1688. Its cartoons was were
by the figure painter Guy-Louis Vernansal, the celebrated flower
painters Jean-Baptiste Monnoyer and Jean Belin de Fontenay.
Popular for some forty years, the series was last woven about
1727-28, by 1731 the cartoons were to be damaged for no futher
use. Sensing a growing revival of chinoiserie, Jean -Baptiste Oudry
commissioned a new Chinese series from Francois Boucher.
DKK 175.000-200.000 / € 23.000-27.000
153
A pair of large French Louis XVI gilt and patinated bronze
candelabra, each with female figures on cylindrical bases
of white marble, holding aloft three branches decorated
with vases of Blue John. Second half of the 18th century.
H. 92 cm. (2).
DKK 600.000 / € 80.000
153
165
154
Antique all silk Royal Heriz Persian carpet, north west Persia. A first class
example of a very rare type made as a gift to the Persian Shah. Classical medallion
design surrounded by a border with the inscription:
Royal Highness
young King,
Emperor of the World, (Shah Alam - King of the World)
brave King
sun of the country.
Your crown is like the crown of Darius.
The earth turned into paradise through your achievements.
Your benevolent achievements.
Thou King of the earth,
the land and the sun will follow you.
Your power is more superior than King Daraous` and Kasran`
King Djamschid and Keygobad envy your position.
Your crown is like the crown of Darous.
Your face is like soul of the world and the world of the soul.
To serve you brings me inward peace.
My name found an eternity through the announcements of your achievements.
This elaborate painting that I give you, covers your Court like a screen.
Your face is like the soul of the world and world of the soul.
You are an example of justice.
19th century. 294 x 204 cm.
Antique Silk Heriz rugs and carpets have been regarded among the most prized rugs of
many private collectors and connoisseurs alike.
DKK 300.000 / € 40.000
166
154
167
155
A Louis XV ormolu and stained green horn bracket clock
decorated with sprays of flowers, outlined and applied with
gilt bronze foliate mounts, with a conforming wall bracket,
white enamel dial. Movement and dial signed L. Formont á
Paris. 18th century. H. 135 cm.
DKK 100.000 / € 13.000
155
168
156
A large German walnut and gilt bronze mounted Rococo
commode, the top inlaid with parquetry, curved sides and
front with four drawers, corner mounts, handles and sabots
of gilt bronze. Mid 18th century.
H. 180 cm. W. 130 cm. D. 70 cm.
DKK 175.000 / € 23.000
156
169
157
A Louis XVI crystal and gilt bronze twelve-light chandelier,
hung with prisms in chains, three sections with ruby red plates. Late 18th century. The Baltic or Berlin.
H. 148 cm. Diam. 92 cm.
DKK 100.000-125.000 / € 13.000-17.000
158
A large French cabinet after George Haupt's Minéralogique
cabinet, mahogany with gilt-bronze mounting. Profiled top
with the Swedish coat of arms, front with two large doors
and two narrow doors with marquettery of light and dark
wood, tapering fluted legs. Plaque with the inscription: Muséum minéralogique Sonné en 1774 par Gustave III Roi de
Suéde á Louis Joseph de Bourbon Prince de Condé. Second
half 19th century. H. 214 cm. W. 180 cm. D. 66 cm.
The Condé museum is the duc d'Aumale's creation. Whilst in exile
in England he collected paintings, furniture, books which are all on
display in the Château de Chantilly. The Condé museum, one of
France's most prestigious heritages and is the first museum for
classical paintings after the Louvre.
The Antechamber and the Salle des Gardes date from the 19th century. They were built by Honoré Daumet to link the Grand Château
to the Petit Château, which up til then were separated by a moat
spanned by a covered bridge. During the French Revolution the
château was emptied of its collections, but the antechamber has several reminders of how Chantilly was decorated in the 18th century,
such as the mineralogical cabinet by George Haupt (1741-1784).
The mineralogical cabinet by Haupt was given to the Prince de
Condé by Gustav III, King of Sweden.
DKK 500.000 / € 67.000
157
170
158
171
159
Two colossal gilt bronze chandeliers, each with twelve curved
arms for 48 candles. The top casted with acanthus, from
which chains in the shape of bees and framed oval prisms,
the frame is decorated with female figures, faun masks and
palmettes, the bottom finished of with openwork palmettes
and a large acorn. 19th century, restored.
H. 190 cm. Diam. 200 cm.
According to tradition these chandeliers are made on commission of
Prince Friedrich of Hessen-Kassel (1820-1888) and his wife Alexandra Grand Duchess of Russia for the residence in Copenhagen
Dehn’s Palace.
DKK 2.000.000 / € 268.000
172
159
173
160
Gerhard Henning
b. Stockholm 1880, d. Hellerup 1967
Gerhard Henning: "Prinsessen på Ærten" (The Princess on
the Pea) porcelain juvel box, decorated in overglaze colours,
the Princess sitting on a pile of cushions, in the corners
small bells. Mounted on a eight-sided plinth. Marked with
Juliane Marie 23-6-18. Royal Copenhagen. H. 42 cm.
160
174
1912-1913 Gerhard Henning modeled several fairytale figures for
The Royal Porcelain Factory. "Prinsessen på Ærten" - The
Princess on the Pea, mentioned in Peter Hertz: Billedhuggeren
Gerhard Henning, 1931. P. 72 ff.
According to information from Royal Copenhagen since 1911 the
figure has been produced c. 20 times - there are no total stocktaking. It takes a porcelain-painter 600 hours to finish a figure.
No doubt the fairytale "Prinsessen på Ærten" - The Princess on
the Pea by Hans Christian Andersen inspired Gerhard Henning
creating this charming box.
DKK 125.000 / € 17.000
161
"One of the largest paper cuts by H.C. Andersen
known to exist”.
Unique paper cut by Hans Christian Andersen.
34 x 41,8 cm. The fabulous composition depicts
a swarm of ballerinas, princesses, laughing faces,
flowers, palms and dancing clowns. In the center of the composition formed like an octagon
Andersen has written a verse: "Den Klipning her
er noget dyr,/ den er sat til en halv Rigsdaler,/
Men det er et heelt klippet Eventyr,/Den Dit
Hjertelag betaler./ H.C. Andersen." ("This paper cut is somewhat expensive/ it costs half a
"rigsdaler"/ But it is a whole cut fairy tale/ It will
pay your kind heart / H.C. Andersen").
This outstanding paper cut is one of the largest paper
cuts by H.C. Andersen known to exist. According to
the diaries of H.C. Andersen it appears to have been
given as a gift to Andersen's very close friend, the
famous composer J.P.E. Hartmann (1805-1900).
The paper cut is unusually well preserved and has never
been mounted on canvas or paper. The composition
has the same verse (with a few variations) as "the
court baker Bruun's paper cut" at the H.C. Andersen
Museum in Odense. According to the diaries of H.C.
Andersen these two paper cuts appear to have been made
in May 1864. At that time Denmark had just lost a
war against Germany and it is likely that Andersen intended the paper cuts to encourage fallen soldiers. The
present cut is truly "a whole cut fairy tale" far away
from any war.
DKK 250.000 / € 34.000
161
175
162
162
"Flora Danica" large porcelain tureen, decorated in colours
and gold with flowers, finial and handles in the shape of
twisted twig with repoussé flowers. 3560. Royal Copenhagen.
L. 37.
DKK 60.000 / € 8.000
176
163
163
Georg Christian Oeder and others (eds.): Flora Danica.
Aftegninger paa de Planter, som voxe vildt i Kongerigerne
Danmark og Norge [...]." 17 vols plus 3 supplementary
parts bound in one volume, plus the rare index "Nomenclator". In all 19 vols. Copenhagen 1766-1883 (the "Nomenclator" published 1887). Folio. Complete set with 3240
orig. hand-coloured engraved plates of plants. Some
occasional browning and scattered spotting in some volumes.
One plate restored. Bound in uniform half morocco. (19).
"Flora Danica" is the most extensive illustrated work in the Danish
history of printing with 3240 hand-coloured engravings of Danish
plants and flowers. Georg Christian Oeder (1728-91) was the
first director of the Danish Botanical Garden and as part of this
job he planned the monumental work "Flora Danica" which was
completed in 1883, nearly 120 years after the first part was issued.
Provenance: From the library of Count Carl Ahlefeldt-Laurvig
(stamp on first title page: "C.A.L." with crown).
DKK 600.000-800.000 / € 80.000-107.000
177
164
A Louis XV style gilt bronze mounted rosewood bureau plat
signed Paul Sormani a Paris 10, r. Charlot after a model by
Charles Cressent. A rounded and curved rectangular brown
leather-inset top, the front with three drawers divided by
scrolled rocaille mounts, wavy shaped sides centred by female
masks, cabriole legs mounted with male military busts after
the antique. France, circa 1860.
H. 79 cm. L. 212 cm. W. 103 cm.
Paul Sormani (1817-1877) was born in Venice. Having trained as
a cabinet maker he moved to Paris where he opened his first shop in
1847. Later his business expanded and he moved to the rue Charlot
in 1867. Napoleon III's wife the Empress Eugenie was particularly
fond of furniture in the Louis XV and Louis XVI style. She decorated her home with both original pieces and spectacular reproductions in these styles. Sormani was a cabinet-maker who was able to
meet the Empress's high standards.
Paul Sormani was a maker of fine "meubles de luxe", whose work
was described in the 1867 Exposition Universelle catalogue as
"toute sa production revele une qualite d'execution de tout premier
ordre" The firm also made eclectic furniture in contemporary styles.
It can be difficult to date Sormani's work, as the firm produced furniture for nearly ninety years. However, when Paul Sormani died
(circa 1877), his wife and son took over the business and from this
date onwards pieces are normally signed "Veuve Sormani & Fils".
DKK 600.000 / € 80.000
178
164
179
165
180
165
A large French rosewood chest of drawers, after a
model by Jean-Henri Riesener, richly inlaid with
flowers, vases, leaves and ornaments in various types
of wood, gilt-bronze ornaments in the shape of rosettes, flowers and leaves, red marble top. Louis XVI
style. Second half 19th century.
H. 95. W. 168. D. 65 cm.
Literature: Pierre Kjellberg, "Le Mobilier Francais du
XVIIIe Siècle, similar model illustrated p. 697, placed at
Château de Fontainebleau.
DKK 200.000 / € 27.000
166
A large French Louis XVI gilt bronze and white
marble mantel clock, on each side of the movement
standing Muse, white enamel dial decorated with
flowers in colours, movement with calender and
moon phase. Movement and dial signed Charlea á
Paris. Second half 18th century. H. 56 cm. W. 57 cm.
DKK 400.000 / € 54.000
166
181
167
167
A French Empire ormolu four-piece Surtout de Table,
openwork gilt bronze gallery with ornaments, foliage and
classical masks. Early 19th century. L. 260 cm. W. 64 cm.
Similar piece made by Pierre-Philippe Thomire (1751-1843)
around 1800 in Paris.
DKK 250.000 / € 34.000
182
168
168
A George III mahogany four pedestal extending dining
table, top with two insertions, four baluster turned pillars,
legs ending in brass sabots and castors. England, circa
1800. H. 74 cm. L. 352 cm. W. 152 cm. Extended L. 468 cm.
DKK 150.000-200.000 / € 20.000-27.000
183
169
184
169
A pair of large Louis XVI gilt-wood armchairs,
medallion-shaped backs carved with leaves and
ornaments, curved fluted arms, round, tapered
and fluted legs. One stamped C. Chevigny.
France, late 18th century. (2).
Claude Chevigny was accredited master in 1768. Chevigny's style of chair design was always simple in its
outline but sophisticated in its detail. He maintained
his preference for the Louis XVI fashion and refined
the neo-classical detail with particularly elegant squared and oval backs usually with both reeded and fluted
detailing which was repeated on seat frames and legs.
This sophistication gained him many aristocratic clients, such as the Duc de Choiseul at the Château de
Chanteloup and the Duke of Montmorency.
Similar armchairs made by Chevigny at the Louvre in
Paris and the Metropolitan Museum in New York.
DKK 50.000 / € 6.700
170
A French Louis XVI gilt and patinated bronze
mantel clock, model after Francois Rémond,
writing young man and reading young woman
on red marble base. Signeret Lé Chopié á Paris.
Late 18th century. H. 70 cm. W. 63 cm.
The figures of the reader and the writer follow the models of Simon-Louis Boizot, the design of the pendulum
clock is attributed to Francois Remond. Comparative
Literature: Hans Ottomeyer/Peter Pröschel: "Vergoldete
Bronzen", Die Bronzearbeiten des Spätbarock und
Klassizismus, München, 1986, p. 295.
Elke Niehüser: “French bronze clocks”, 1700-1830, p. 26.
DKK 250.000 / € 34.000
170
185
171
171
J. de Beers, c. 1790
The Queens Castle at Greenwich. C. 1790. Signed J. de Beers.
Engraved and painted on glass. 46 x 89 cm.
Provenance: Kenneth S. Harris, Chicago, Illinois, USA. Gavin
Henderson, Lord Farringdon, Barnsley House, Burford, England.
.
DKK 150.000 / € 20.000
186
172
Københavner Pokalen: a cut crystal goblet by Heinrich Gottlieb
Köhler featuring a cuppa-cut rendition of the Copenhagen city
arms flanked by lion rampant. On the reverse it features the
towers of Copenhagen rendered in Rococo cartouche flanked by Justitia in addition to two other allegorical figures and
the inscription "Gott Steh dem Könige, mit Krafft und
Seegen bey. Er hatte Selbst mit Rath, Er Schütz die Policey."
and "Er Seegne all Ihr thun, und was getht aus und ein.
So mus Stäts heil und gelück, in Copenhagen Sein." Roughly
translated: "God stands by the King, inducing power and offering benediction. He has council and offers protection to the
state." and "He blesses all that they undertake and which goes
around. May fortune and happiness prevail in Copenhagen."
The lid is adorned with an olive-shaped cut crystal pattern.
The goblet has a facetted, baluster-shaped hollow stem.
Manufactured in Silesia and cut in Denmark, circa 1752-1756.
H. 42 cm.
The cut crystal goblet is manufactured in Silesia and cut by H.G.
Köhler in Copenhagen while he resided in the city between 1741 and
1756. The goblet is identical to one in the collections of the Danish
Museum of Art and Design in Copenhagen: B22/1935. The cut
crystal motif resembles that of an image of the towers of Copenhagen
rendered in Ada Buch Polak: Gammel Norsk Glas, plate 7, plate 13.
Literature: Holger Rasmussen, Arv og Eje. 1968. P. 134-135.
H.G. Köhler was trained as a glass-cutter at the Saxon glass company
and soon became a supplier of cut crystal goblets to the Danish Royal
Court. He has created 12 signed works, but many more are attributed
to him due to his characteristic style.
DKK 125.000-150.000 / € 17.000-20.000
172
187
173
A signed French Louis XVI style rosewood and
gilt bronze mounted cupboard with a pair of lacquered doors in the Chinese taste, with figures,
houses and rocks in a landscape top of multicoloured marble. Stamped: Krieger. Second half
19th century. H. 154 cm. W. 135 cm. D. 50 cm.
Antoine Krieger: ébéniste (1804-1869) A major manufacturer cabinet-maker during the second half of the
19th century. Krieger set up shop in the Faubourg SainteAntoine District in 1826. The company had changes its
name several times by 1880, latter becoming Damon et
Cie. Exhibited varios types of furniture in 1852 and
1855, making copies of 18th century furniture, also
modern interpretations of earlier styles. Some of his piece
bear a paper label, others signed with his surname of
metal work.
DKK 150.000 / € 20.000
174
A large French rosewood and gilt bronze bureau
plat. Top inlaid with brown leather and gold-tooled
border, apron with three drawers. Régence style,
circa 1900. H. 76 cm. L. 200 cm. W. 100 cm.
DKK 175.000-200.000 / € 23.000-27.000
173
188
174
174
189
175
A large German Baroque 16-lighted brass chandelier. Late
17th century or early 18th century. H. 112 cm. Diam. 120 cm.
DKK 100.000-150.000 / € 13.000-20.000
176
An Italian walnut Rococo writing bureau, curved sides and
front with four drawers and fall-front. Lombardy, mid 18th
century. H. 114 cm. W. 154 cm. D. 58 cm.
DKK 30.000-40.000 / € 4.000-5.400
175
190
176
191
177
A pair of French Louis XVI gilt and patinated bronze candelabra,
each with female figures on cylindrical bases of breche d' Alep
marble, holding aloft three branches. Second half 18th century.
H. 77 cm. (2).
DKK 200.000 / € 27.000
178
A pair of Danish Louis XVI gilt wood console tables, both with
tops of white marble and fronts with openwork ornaments.
Attributed to the Architect Caspar Frederik Harsdorff. Late 18th
century. H. 84 cm. W. 91 cm. D. 60 cm. (2).
Provenance: Lilliendal Manor.
177
192
Architect Caspar Frederik Harsdorff represented an austere neoclassical
style that was a reaction to the prevailing rococo style. A couple of Harsdorff’s most accomplished examples are his own residence, Kongens Nytorv 3-5 (constructed in 1780), and Erichsens Palæ (Manor) by Kongens
Nytorv (constructed 1799). He also practiced interior design and was not
only epoch-making within architecture but also within the design and manufacturing of furniture. In acknowledgement of his evident talent, C.F.
Harsdorff was appointed Court Architect and Professor.
DKK 400.000 / € 54.000
178
193
179
Antique Tabriz, Persia. A fine example of a top grade carpet
with an impressive classical medallion drawing executed
with the best wool and use of colors. Mint condition. Early
20th century. 402 x 310 cm.
Tabriz is the dominant city of Northwest Iran/Persia and is the second
largest city in Iran. Tabriz has been a center of the Persian carpet
trade for hundreds and perhaps thousands of years. Quality spans
all grades from Bazaar quality all the way up to some of the best
rugs woven in Iran.
DKK 300.000 / € 40.000
194
179
195
180
Important Sévres porcelain coffee-set, decorated
in colours and gold with portraits of ladies Agnes
Sorel, Mme Duchatelet, Rosalba, Jeanne Gray,
Anne de la Vigne, Mme Deshouilleres,
Heloïse, Marie Thérèse, Mme de
Graficny, Anne d'Autriche, Christine
de Suede, Marguerite de Valois,
Elisabeth d'Angleterre, Marie Stuart,
Blanche de Castile. The saucers adorned with the emperial insignia in gold; the set
comprising eight cups and eight saucers, coffee
pot, sugar bowl, creamer and slop basin. Marked
in reed M. Imp/de Sévres. France, circa 1810.
Marie-Victoire Jacquotot or Jaquotot 1772-1855)
painter at the Sévres factory 1801-1842. After the Tilsit
Peace she painted under order from Napoleon I, a dessert
service which was given to the Russian Tzar.
Literature: Similar cup reproduced in Sévres: Marcell
Brunet et Tamara Préaud, 1978, p. 288, planche 342.
Tasse Jasmin à pied cannelé. Fond vert, 1810.
DKK 1.000.000 / € 134.000
196
180
197
181
A French mid 19th century ormolu-mounted, brass-inlaid ebony
and ebonised Boulle-style vitrine on cabinet. The rectangular spreading top surmounted by a shaped pediment centred by a female
mask, flanked to each side by a seated putto and scrolling foliage,
the angles to the front with bouquets of grapes and vine leaves, above
a pair of glazed cupboard doors with reeded surround, the mirrored-back interor fitted for shelves, the base inlaid with flower-heads,
scrolling branches and masks, the sides with similar glazed panels,
the cabinet with two frieze drawers above a pair of cupboard doors
each centred by a female mask within pierced scrolling foliate
mounts inscribed to the reverse Gf, the interior fitted with a shelf,
the sides with similar inlaid panels and mask mounts, on a plinth
with square feet. H. 268. W. 117. D. 58 cm.
Guillaume Grohé (1808-1885) established his workshop in Paris in 1829
with his brother, under the trade name "Grohé Frères" and by 1861 he run
the business on his own. The firm created original pieces of furniture in Louis
XIV and Louis XVI styles and delivered many pieces to the Second Empire
court. Grohé toook part in all major exhibitions until 1878 when the business closed.
In the 1855 Paris Expositon Universelle Grohé were awarded with a médaille
d'honneur. The Jury reports that Grohé Freres exhibited: "un cabinet à deux
corps, en ébène, avec partie surpérieure fermant a glaces", a description
which could correspond to the present lot. (Rapports du Jury de l'Exposition
Universelle de 1855, Paris, p. 1118.
Grohé worked as main supplier to the Duc d'Aumale in the château de Chantilly and som similarities can be found with the meuble-bahut they delivered
for the salon des Guises, illustrated in Ledoux-Lebard p. 241, in particularly
the floral garlands mounts flanking the cupboard doors.
Comparative literatur; Ledoux-Lebard, Les Ébénistes du XIX siècle 17951889, pp 239-245.
DKK 500.000 / € 67.000
181
198
182
A French Regence style black painted and gilt bronze bureau plat in
the style of Charles Boulle, inlaid with tortoise and brass, the top
inlaid with black leather, corner mounting, handles and sabots of
gilt bronze. The lock stamped Sormani & Fils, 10 r. Charlot Paris.
19th century. H. 78 cm. L. 147 cm. W. 74 cm.
Similar bureau plat in château de Versailles.
Comparative literature: Denise Ledoux-Lebard: Les Ébénistes du XIX Siècle
1795-1889.
DKK 400.000 / € 54.000
182
199
183
183
Italian artist, 19th century
Micro mosaic depicting Forum Romanum in Rome. Unsigned.
21 x 28 cm.
DKK 25.000-30.000 / € 3.400-4.000
200
184
White marble torso, young man with cape over left shoulder.
Roman. 1st or 2nd century. H. 70 cm. Pedestal H. 8.5 cm.
Provenance: From the collection of J.A. Jerichau (1816-1883), professor
of sculpture - Auction 5 May 1884, no. 5. "Standing man with cape
on left shoulder. Missing head and arms, legs truncated on the diagonal. Mounted at a pedestal of a later date. Marble sculptures from
this collection can today be seen in the collections of the Ny Carlsberg
Glyptotek and in the Classical and Near Eastern Antiquities’ collection of the National Museum of Denmark.
This torso was later purchased by G.A. Sadolin and has been part of
his collection until now.
The standing motif and small size are well-known from Roman
marble statues depicting handsome young men intended for display
in a peristyle or garden setting. The cape is rather short, resting only
on the shoulder and serving mainly to emphasize the figure's nudity.
DKK 300.000-400.000 / € 40.000-54.000
184
201
185
Egyptian canope of alabaster with bas-relief inscriptions
and a lid shaped like the head of the funeral deity Amset
[also transcribed Imset] adorned with a wide wig. 26th
Dynasty, 525-664 BC. H. 37 cm.
Inscription: "To quote Isis: I will kill your adversary and take over
guard of Amset, which lies within. When Amset is protected the
honourable Osiris is protected. Pe-Sehar-Nat, the blessed is Amset".
The hieroglyphs were deciphered by Professor Lander-Hansen of the
University of Copenhagen. Pe-Sehar-Nat is the name of the deceased.
185
202
Provenance: Purchased by the current owner's father from Antique
Dealer Carl Becker in the 1980s.
Canopic jars were used to store embalmed viscera removed from the
body during the process of mummification. Canopes were commonly rendered in alabaster, ceramic, wood or bronze.
DKK 60.000-80.000 / € 8.000-11.000
186
obverse
enlarged 300%
reverse
enlarged 300%
186
Denmark, Valdemar II, the Victorious, 1202 - 1241. Penning (pfennig, penny, denar, denier) struck in the city of Roskilde "In the year
of our Lord" 1234, 1,00g. Very Fine condition.
P. Hauberg, "Danmarks Myntvæsen", Copenhagen 1906, Tab. V,
12; A. Frey, "The Dated European Coinage prior to 1501, New York
1915, N1; R. A. Levinson, "The Early dated coins of Europe 1234 1500", New Jersey 2002, VI-1.
The coin shows a crown on the obverse and a miter (bishop's hat)
on the reverse and bears the following legends in uncial script:
+ANNO DOMINI / MCCXXXIIII.
From an old Swedish collection. First published in Nordisk Numismatisk Unions Medlemsblad, August 2003, by Kent Bengtsson.
Of the utmost historical importance. A wonderful example, probably the best of the 7 in existence and unique in private hands.
The present coin, which ranges among the most famous and most important of all European coins ever, owes its position to the fact that it is the earliest dated coin in the history of European numismatics. In his standard reference work Robert Levinson puts it very accurately when he says that "The
decision to begin dating coins to an Anno Domini standard was hardly a
trend-setter: 138 years passed until the next European coins were dated in
1372", and the first collectable dated coin is normally considered as being
the 1374 Groschen from Aachen.
The reason for the issue of this outstanding coin has since its first discovery
around 1700 been something of a mystery, and in fact precisely the mysterious could hold some of the explanation for the dating of this coin. In the
Medieval world superstition played a vital part in every day life and the
magic in numbers should not be underestimated. After all, never before - or
for that matter since - has there been a year containing such a "powerful"
sequence of numbers, no matter if you use the Arabic numbers 1 - 2 - 3 - 4 or
the Roman numerals M (x 1) C (x 2) X (x 3) I (x 4).
Most of the 13th century there was an intense conflict between the King and
the Catholic Church, and king Valdemar tried to secure full proceeds from
the minting, which was divided between the crown and the church. Following a meeting in 1234, Niels Stigsen, who was bishop of Roskilde from
1225 till 1249, apparantly succeeded in maintaining "his" share of the income, and so the present coin, showing the miter of the bishop, could be seen
as a sort of ecclesiastical commemorative.
DKK 250.000 / € 34.000
203
204
187
A highly important Il Khanid silver and gold inlaid brass
pencase, late 13th cent. AD.
The Ilkhanate of Northwest Iran, late 13th century AD.
Brass pencase of rectangular form with rounded ends
richly decorated with gold and silver inlays with a drawing of medallions showing affronted and avert flying
birds - in some the birds are surrounded by four-legged
animals and in some by heads of mythical creatures. On
the lid two medallions are seen depicting a mounted
falconer and another with a mounted archer. All medallions framed with borders of vegetal motifs, pair of
birds, and trellis pattern. Two silver hinges, Brass base
added later. Length 15.3 cm. Minor scattered corrosion,
but in general of exceptional condition, of superior
workmanship and of the highest importance.
Comparable pieces can be seen in the Museum of Islamic Art, Doha (ex. Sotheby's, London, April 30th 2003,
lot. 68) and in the David Collection, Copenhagen (Kjeld
Von Folsach: Islamic Art, 1990, p. 204f.).
Islamic decorative art reaches a pinnacle under the Mongolian
Dynasty called the Il Khanids, who ruled over present days Iran
and Iraq from 1256 till 1353.
Silver and gold inlaid luxury goods in bronze and brass belonged to the most highly esteemed prestigious objects, but only
very rarely have these beautiful, but delicate and frail inlays
been preserved to our times.
The present richly decorated case, which served as a container
for writing tools, must certainly have belonged to a highranking member of the Il Khanid court.
Whereas figurative representations of humans and animals are
normally considered to be in conflict with Islamic teaching, this
has mostly held true within the specifically religious sphere.
Secular art, however, has sometimes been adorned with very
beautiful figurative motives. In the present case scenes of courtly
hunting are depicted in combination with series of symbolic and
highly poetic representations of flying birds, which probably also
allude to esoteric conceptions.
1
DKK 2.250.000-3.000.000 / € 302.000-402.000
1.
187
205
index
A
H
Ancher, Anna Ancher, Michael 44
40, 41, 47, 49
Artschwager, Richard 114
Balsgaard, Carl 24
Beers, J. de 171
Brendekilde, H. A. 59, 68
C
33
D
Dreyer, Dankvart 6
75
2
7, 12
14, 16, 28, 29
Eliasson, Olafur 119
Eriksen, Edvard 62
F
Fischer, Paul 53, 55, 60, 65
66, 67, 70, 77
Fischer, Philip August 1
G
Gottlob, Kaj 57, 58, 64, 69
Hansen, Constantin 27
8
Heerup, Henry 102
Henning, Gerhard 160
Hermann, Jacob 110
Holm, Christian 34
63, 73, 74
107
T
Larsen, Johannes 61
Thomsen, Carl Liljefors, Bruno 79
Thøming, Friedrich Lund, F. C. 35
Tuxen, Laurits Lundbye, Johan Thomas 36
W
Lundstrøm, Vilhelm 101
M
Marstrand, Wilhelm Mønsted, Peder 17, 18, 21
72
P
I
Ilsted, Peter E
Eckersberg, C. W. 52, 54, 56
Holsøe, Carl Carracci, Annibale, studio of Dalsgaard, Christen Hammershøi, Vilhelm Hansen, Heinrich B
Dahl, I. C. L
48
J
Petersen, Robert Storm Petzholdt, Fritz Philipsen, Theodor Jacobsen, Robert 105
Jensen, I. L. 11
Jerichau Baumann, Elisabeth 38
103
9
37
R
R, Tal 118
43
Ramos, Mel 113
Juel, Jens 3, 4, 15, 19
Ring, L. A. 71
Juhl, Finn 108
Ring, Ole 78
Johansen, Viggo K
Kindt-Larsen, Tove og Edvard 109
Kjærholm, Poul 111
Kloss, Frederik Theodor Krøyer, P. S. 20
32, 42, 45, 46, 51
Ruscha, Edward 116
Rørbye, Martinus 39
S
Schjerfbeck, Helene 104
Skovgaard, P. C. 31
Snyders, Frans 25
Kvium, Michael 115
Küchler, Albert 22, 26
Stanley, Robert 120
5
Sørensen, C. F. 10, 30
Købke, Christen 76
13, 23
50
Warhol, Andy 117
Wegener, Gerda 106
Wesselmann, Tom 112
k ø bsk o n d i t i o n e r
§ 1. Budgivning
Køber er den byder, der får hammerslag. Den, der byder for andre, hæfter som selvskyldnerkautionist
for berigtigelsen af købet.
På opfordring fra Bruun Rasmussen Kunstauktioner (herefter benævnt Bruun Rasmussen), skal alle
bydere, hvadenten de ønsker at afgive et bud ved personligt fremmøde på auktionsstedet eller afgive
en kommission pr. brev, fax eller hjemmeside eller byde direkte pr. telefon eller hjemmeside, kunne
dokumentere deres betalingsdygtighed samt til enhver tid identificere sig. Bruun Rasmussen er altid
berettiget til at nægte at acceptere et bud, hvis på forlangende ikke tilstrækkelig sikkerhed er stillet
eller en passende à conto betaling har fundet sted.
Bud afgives af byderen ved personligt fremmøde på auktionsstedet eller ved skriftlig kommission enten pr. brev, fax eller hjemmeside. På online-auktioner afgives bud direkte fra hjemmesiden. Afgivelse
af bud pr. telefon er muligt under visse forudsætninger, der afgøres af Bruun Rasmussen. Bruun
Rasmussen påtager sig intet ansvar for eventuelle fejl eller fejltagelser, der måtte opstå ved brug af
denne service. Auktionarius bestemmer overbuddets størrelse og træffer ligeledes afgørelse i alle tvivlstilfælde om budgivningen.
For at kunne byde på online auktioner kræves forudgående registrering af byders betalingskort- /
kreditkortoplysninger.
§ 2. Betaling
For numre, der handles til brugtmoms, opgøres købesummen som hammerslagsprisen med tillæg af
25% i auktionsomkostninger inklusive afgift.
Visse numre handles efter særlige regler til fuldmoms, så udover auktionsomkostninger på 20%,
beregnes moms på 25% af hammerslag og auktionsomkostninger. Hvilke numre der sælges til fuldmoms fremgår af katalog og hjemmeside med stjerne (*).
Danske momsregistrerede købere skal overfor Bruun Rasmussen oplyse deres SE-/CVR-nr. (moms-nr.),
da dette skal anføres på de fakturaer, hvor varen købes i fuld moms.
For visse udenlandske købere gælder der særlige regler for afgiftsfritagelse jvf. § 4. Afgiftsfritagelse
omfatter ikke EU private købere, som ligestilles med danske købere jvf. gældende dansk lovgivning
om handel med brugte varer, kunstgenstande, samlerobjekter og antikviteter.
Købesummen forfalder til betaling ved tilslaget. Der kan betales kontant op til DKK 100.000 eller
med Dankort, banknoteret check, rejsechecks, Visa-, Master-, Diners Club- eller Eurocard. Personlige
udenlandske checks kan kun anvendes efter forudgående aftale.
Betaling kan finde sted under eller umiddelbart efter auktionen og under alle omstændigheder skal
betaling finde sted senest 8 dage efter fakturadatoen. På online auktioner trækkes købesummen på
de af byderen oplyste kort- og kontooplysninger i forbindelse med at det købte emne udtages til
transport (ca. 12 timer efter dagens salg). Samtidig tilsendes køber faktura og transportoplysninger.
Betales købesummen ikke rettidigt, skal der svares rente heraf med 1,5% pr. påbegyndt måned.
Betales købesum og renter ikke inden 8 dage efter at Bruun Rasmussen har afsendt påkrav herom til
køber, er Bruun Rasmussen berettiget til at annullere købet og bortsælge det købte på ny auktion
hos Bruun Rasmussen eller underhånden og afkræve køber ethvert herved opstået tab. Et eventuelt
overskud tilfalder den, der har indleveret det købte til auktion.
Har den misligholdende køber tilgodehavender fra salg af effekter hos Bruun Rasmussen, er Bruun
Rasmussen berettiget til at berigtige ethvert tilgodehavende hos køber ved modregning.
Har den misligholdende køber indleveret andre effekter til salg, er Bruun Rasmussen berettiget til
at bortsælge sådanne effekter på auktion hos Bruun Rasmussen uden at være bundet af en af den
misligholdende køber fastsat mindstepris. Den misligholdende køber er ikke berettiget til at kræve ud-
levering af effekter indleveret til salg, så længe forfalden gæld til Bruun Rasmussen ikke er betalt,
uanset om værdien af sådanne effekter må anses at overstige forfalden gæld.
Bruun Rasmussen er berettiget til at afvise bud afgivet af en køber, der er i misligholdelse med sine
betalingsforpligtelser over for Bruun Rasmussen eller et bud afgivet af en anden på den pågældendes
vegne, ligesom Bruun Rasmussen er berettiget til at kræve et depositum som betingelse for accept af
fremtidige bud.
§ 3. Fortrydelsesret
For privatkøb af emner på en online-auktion gælder loven om fjernsalg, herunder også 14 dages fortrydelsesret. Eventuelle omkostninger forbundet med transport af købte emner retur fra køber, betales
af køber selv.
Såfremt køber benytter sig af sin fortrydelsesret, refunderer Bruun Rasmussen betalingen umiddelbart efter, at varen er sendt retur og modtaget af Bruun Rasmussen. Bruun Rasmussen gør opmærksom på, at det herefter er op til bankerne/kreditkortselskaberne, hvornår refusionen indgår på købers
konto.
§ 4. Afgiftsfritagelse
Udenlandske købere, der opfylder nedennævnte betingelser, betaler 20% i auktionsomkostninger af
hammerslaget, og bliver ikke belastet af danske afgifter.
A. Købere med bopæl i et andet EU-land:
Købere, som er momsregistreret i et andet EU-land, fritages for at betale dansk moms, når momsregistreringen dokumenteres over for Bruun Rasmussen, som skal påføre momsnummeret på fakturaen.
B. Købere med bopæl uden for EU:
1. Forsendelse gennem speditør: Effekter, der eksporteres gennem en af Bruun Rasmussen godkendt
speditør, fritages for afgift.
2. Udførsel som rejsegods:
Der kan ske fritagelse for dansk afgift, når køberen selv medtager det købte under forudsætning
af, at følgende betingelser er opfyldt:
Fakturaen skal være betalt, og den danske afgift på 25% af fakturabeløbet skal være deponeret
hos Bruun Rasmussen.
a. Købere med fast bopæl i Norge vil få den danske moms refunderet, så snart Bruun Rasmussen har
modtaget købsfakturaen retur med påtegning om officiel indførsel fra det endelige lands toldmyndighed eller anden på omsætningsafgiftsområdet kompetent myndighed, hvis købet overstiger
DKK 1.200.
b. Købere med fast bopæl andre steder uden for EU vil få den danske moms refunderet, efter at
effekterne har været forevist til toldbehandling i forbindelse med køberens udrejse fra EU.
Eksportørblanketten returneres til Bruun Rasmussen efter at være forsynet med et toldvæsens
attest for udførslen, hvis købet overstiger DKK 300. Dette gælder også for Færøerne og Grønland.
§ 5. Afgiftsbetaling
A. Momsregistrerede i andre EU-lande, der ikke ønsker at gøre brug af § 4, kan i stedet vælge at
handle til brugtmoms/fuldmoms på lige fod med private købere. Dette skal meddeles Bruun Rasmussen inden kl. 10 den følgende auktionsdag.
B. Momsregistrerede i Danmark kan vælge at købe til fuldmoms med 25% af både hammerslag og
auktionsomkostninger. Dette skal meddeles inden kl. 10 den følgende auktionsdag.
§ 6. Udlevering
Købesummen skal være betalt, inden det købte kan udleveres til køberen. Det købte henligger fra
hammerslaget for købers regning og risiko. For varer, der ikke afhentes ifølge aftale efter hammerslaget, vil blive kørt på fjernlager på købers regning og risiko. Købte varer, der er betalt, men ikke
afhentet, vil efter 1 år blive videresolgt for købers regning ved auktion eller underhånden.
§ 7. Forsendelse
Såfremt Bruun Rasmussen påtager sig at emballere og fremsende købte varer, sker dette på købers
regning og risiko. Bruun Rasmussen kan således ikke drages til ansvar for skader forvoldt på købte
varer under forsendelse eller for forsvundne forsendelser.
§ 8. Kunstnerafgift til Copy-Da n
CD
Ifølge gældende dansk lovgivning om ophavsret skal der opkræves følgeretsvederlag på værker af
alle nyere danske og visse udenlandske kunstnere. Følgeretsvederlaget opkræves hos køber af Bruun
Rasmussen på vegne af kunstnernes organisation Copy-Dan, for de kunstværker, der er omfattet af
loven. Disse værker er mærket CD for Copy-Dan ud for katalognummeret.
Følgeretsvederlaget beregnes som følger for det enkelte kunstværk, når hammerslagsprisen overstiger
DKK 1.864:
• 5% af den del af hammerslagsprisen, der ligger mellem DKK 0 og DKK 310.729 med tillæg af
auktionsomkostninger på 20% ekskl. afgift
• 3% af den del af hammerslagsprisen, der ligger mellem DKK 310.729 og DKK 1.242.917 med
tillæg af auktionsomkostninger på 20% ekskl. afgift
• 1% af den del af hammerslagsprisen, der ligger mellem DKK 1.242.917 og DKK 2.175.104 med
tillæg af auktionsomkostninger på 20% ekskl. afgift
• 0,5% af den del af hammerslagsprisen, der ligger mellem DKK 2.175.104 og DKK 3.107.292 med
tillæg af auktions-omkostninger på 20% ekskl. afgift
• 0,25% af den del af hammerslagsprisen, der ligger over DKK 3.107.292 med tillæg af auktionsomkostninger på 20% ekskl. afgift
Copy-Dan afgiften kan ikke overstige DKK 93.219 for det enkelte kunstværk.
§ 9. Eksporttilladelse
Kulturværdiudvalget er blevet ansøgt om eksporttilladelse, hvor dette kræves iflg. gældende dansk
lovgivning om sikring af kulturværdier i Danmark. Foreligger en sådan ikke, vil dette blive meddelt
den udenlandske køber umiddelbart efter hammerslaget. Derefter vil Bruun Rasmussen igen ansøge
Kulturværdiudvalget på købers vegne, nu hvor prisen kendes. Gives eksporttilladelse ikke, er Kulturværdiudvalget forpligtet til at overtage det købte til den opnåede pris, hvilket betyder at købet bliver
hævet for køber.
§ 10. Beskrivelse af emner
Alt sælges i den stand, hvori det ved hammerslaget er at forefinde og som beskrevet i katalog eller
hjemmeside med senere offentliggjorte ændringer og modifikationer.
Beskrivelsen er foretaget efter bedste overbevisning og under anvendelse af de anførte katalogiserings-principper.
De solgte effekter er ofte af en alder eller af en art, der bevirker, at de kan være behæftet med fejl,
mangler, restaurering eller beskadigelser, der ikke nødvendigvis angives i katalog eller på hjemmesiden.
Afbildninger i katalog eller på hjemmesiden er blot til identifikation og kan ikke anvendes til vurdering
af effekternes stand.
Enhver der ønsker at byde på auktion, bør derfor ved selvsyn på de før auktionen afholdte eftersyn
forvisse sig om de ønskede effekters stand.
Beskrivelsen er udtryk for den på salgstidspunktet blandt lærde og eksperter herskende opfattelse.
Skulle der efter købet opstå tvivl om det købtes ægthed eller dettes overensstemmelse med beskrivelsen,
skal dette straks meddeles til Bruun Rasmussen.
Såfremt det må erkendes, at det købte er en forfalskning, eller såfremt beskrivelsen har været
behæftet med væsentlige fejl, der har medført en væsentlig højere hammerslagspris, end en korrekt
beskrivelse må antages at ville have resulteret i, er køber berettiget til at annullere købet, hvorefter
den samlede erlagte købesum tillagt auktionsomkostninger og evt. moms, vil blive refunderet køber.
Væsentlige fejl i beskrivelsen relateret til mål eller vægt erstattes kun procentuelt i forhold til differencen.
Retten til under de her anførte betingelser at annullere et køb eller kræve erstatning kan kun udøves
af den, der købte den pågældende effekt hos Bruun Rasmussen og er betinget af, at krav om annullering og/eller erstatning fremsættes skriftligt over for Bruun Rasmussen inden 2 år efter købsdagen
(datoen for genstandens overlevering), og, i tilfælde af annullering, af at det købte inden samme frist
returneres til Bruun Rasmussen i den samme stand i enhver henseende, som det købte var i på hammerslagstidspunktet.
Køber kan i tilfælde af annullering ikke gøre krav på betaling af renter af købesummen og er ej heller
berettiget til at kræve anden udgift eller tab, herunder eventuel mistet videresalgsfortjeneste, dækket.
Et køb kan ikke kræves annulleret og køber kan ikke kræve erstatning efter ovenstående bestemmelser, såfremt:
a. beskrivelsen i katalog eller på hjemmesiden på hammerslagsdagen var i overensstemmelse med
den på dette tidspunkt gældende opfattelse blandt lærde og eksperter, eller
b. den eneste måde til på salgstidspunktet at få fastslået et falsk-neri var iværksættelsen af videnskabelige processer, hvis gyldighed først blev anerkendt efter salgstidspunktet, eller som ville have
været uforholdsmæssigt omkostningskrævende eller uigennemførlige uden beskadigelse af den
pågældende effekt.
I tillæg til ovenstående frist gælder de almindelige forældelsesregler i forældelsesloven, efter hvilke
køber ikke under nogen omstændigheder kan gøre noget krav gældende over for Bruun Rasmussen,
når der er forløbet mere end 5 år fra købsdagen.
Bruun Rasmussen Kunstauktioner
Jesper Bruun Rasmussen, Auktionsholder
Jørgen Byriel, Auktionsleder
KOMMISSIONER
Bruun Rasmussen påtager sig at byde i kommission for bydere, der ikke kan være til stede ved auktionen. Det er en forudsætning, at kommissioner indleveret pr. brev eller fax er Bruun Rasmussen i
hænde i 24 timer før auktionens start, så om nød-vendigt bydernes kreditværdighed kan undersøges.
Via hjemmesiden er denne deadline 3 timer. Bruun Rasmussen påtager sig intet ansvar for eventuelle
fejl-tagelser, der måtte opstå ved brug af denne service.
Konditionsrapporter
Bruun Rasmussen påtager sig, hvis det er muligt, at orientere nærmere om numrenes kondition og
tilstand. Dette er ment som en service for kunder, der ikke selv har mulighed for ved selvsyn at
undersøge numrene på eftersynet. Det understreges, at de givne oplysninger ikke kan gøres til genstand for reklamationer; her henvises til beskrivelsen.
FRITAGELSE FOR DANSK FULDMOMS
Købere skal ifølge § 2 betale fuldmoms af de varer der i katalog eller på hjemmesiden er markeret
med stjerne (*).
Når virksomheder, der er momsregistrerede i andre EU-lande, køber hos Bruun Rasmussen og
videresælger til private, skal der ikke betales dansk moms, men moms i henhold til de regler der
gælder, hvor den udenlandske virksomhed er momsregistreret. Det tilrådes at søge oplysning hos de
lokale myndigheder.
c o n d i t i o n s o f p u rchas e
§ 1. Bidding
The buyer shall be the highest bidder at the “hammer price”. Any person bidding on behalf of a third
party shall be liable in surety for completion of the sale.
At the request of Bruun Rasmussen Kunstauktioner (hereinafter called Bruun Rasmussen), all bidders,
whether they wish to make bids in person at the place of auction or commission bids by letter or fax
or direct telephone bids, should be able to document their ability to pay and be able to provide proof
of identity at any time. Bruun Rasmussen is entitled to refuse to accept a bid if, when requested,
adequate security or adequate payment on account has not been rendered.
Bids should be made by the bidder in person at the place of auction or by written commission.
Telephone bidding is possible within certain conditions made out by Bruun Rasmussen. Bruun
Rasmussen is not to be held responsible for any errors that may occur using this service. The auctioneer
shall have absolute discretion as to the increment of the bids. The auctioneer will also make decisions
in all cases of doubt regarding the bidding
Credit/debit card information must be registered with Bruun Rasmussen before bids can be submitted
at our online auctions.
§ 2. Payment
The purchase price is the hammer price plus 25% in buyer’s premium, including VAT, for lots sold
subject to the special VAT scheme for sales of Works of Art, Collectors’ items and Antiques, and
secondhand goods by Public Auction (hereinafter called Special VAT).
Certain lots are sold in accordance with specific rules on normal VAT arrangement (hereinafter called
normal VAT), so that the purchase price is the hammer price plus an additional 20% in buyer’s
premium and VAT of 25% levied on both the hammer price and the buyer’s premium. The lots subject to Full VAT are indicated as such in the catalogue with an asterix (*).
Danish VAT registered buyers shall provide Bruun Rasmussen with documentation of their SE-/CVRnumber (VAT No.) as this has to be quoted on the invoice for goods bought at full VAT.
For some foreign buyers, specific VAT-exemption rules apply (cf. Article 3). VAT-exemption does not
apply to private buyers from the EU who are considered as Danish buyers (cf. current Danish legislation on Special VAT Scheme for Sales of Works of Art, Collectors’ items and Antiques by Public Auction).
The purchase price falls due for payment when the goods have been knocked down. Payment may be
made in cash up to DKK 100,000, by Dankort, banker’s cheque, traveller’s cheque, Visa-, Master-, Diners
Club- or Eurocard. Personal foreign cheques may only be used for payment by prior arrangement.
Payment may be made during or immediately after the auction. Under all circumstances payment
must be made no later than eight days from the date of the invoice. With online auctions, payment
takes place when the items are prepared for dispatch (circa 12 hours after the purchase has been
made) using the banking details (credit/debit card and bank account) submitted by the purchaser. At
the same time an invoice and dispatch information will be sent to the purchaser.
Should the purchase price not be paid by the due date, interest at 1.5 % per new month will be
charged.
If the purchase price and interest are not paid within eight days after Bruun Rasmussen has sent its
demand to the buyer, Bruun Rasmussen shall be entitled to rescind the sale and resell the goods at a
Bruun Rasmussen auction or privately, and to demand reimbursement of any related losses from the
defaulting buyer. Any further profit on the sale shall be payable to the person who had deposited the
goods for sale by auction.
If the defaulting buyer is entitled to proceeds from a sale of goods by Bruun Rasmussen, Bruun Rasmussen shall be entitled to set off its receivables against its payables to the defaulting buyer.
If the defaulting buyer has deposited other goods for sale, Bruun Rasmussen shall be entitled to sell
such goods at a Bruun Rasmussen auction without being bound by the reserve stipulated by the
defaulting buyer. The defautling buyer shall not be entitled to demand the surrender of goods deposited
for sale as long as the debt payable to Bruun Rasmussen has not been discharged, regardless of
whether the value of such goods may be deemed to exceed the debt payable.
Bruun Rasmussen shall be entitled to refuse a bid made by a buyer who is in default in respect to his
payment obligations to Bruun Rasmussen, as well as a bid made by a third party on behalf of such
a defaulting buyer. Bruun Rasmussen shall further be entitled to demand a deposit as a condition of
accepting any future bids from such a purchaser.
§ 3. Money-back guarantee
Online purchase of items by private individuals is subject to Danish consumer law, which extends
14 days of money-back guarantee. The purchaser is liable for any costs related to the transport of
returned items.
Should a purchaser seek to avail himself or herself of the money-back guarantee, Bruun Rasmussen
will refund the payment on receiving the returned items. Please note that the date on which accounts
are debited is subject to the policy of the purchaser’s bank/credit card company.
§ 4. Exemption from VAT
Foreign buyers who fulfil the conditions stated below shall pay 20% of the hammer price in buyer’s
premium and shall not be subject to Danish taxes and duties:
A. Buyers residing in another EU Member State:
Buyers are exempt from paying Danish VAT as long as they have provided Bruun Rasmussen with
documentation of their VAT registration. The VAT number will then be quoted on Bruun Rasmussen’s
invoice.
B. Buyers residing outside the EU:
1 Dispatch through forwarding agent: Lots exported through a forwarding agent approved by Bruun
Rasmussen are exempt from VAT.
2 Export as personal luggage: Goods may be exempt from Danish VAT when the buyer personally
takes the goods out of the country as luggage, provided the following conditions have been met:
The invoice must have been paid and the Danish duty of 25% of the invoice amount must have
been deposited with Bruun Rasmussen.
a Buyers residing in Norway will be refunded the Danish VAT as soon as the invoice of sale has been
returned to Bruun Rasmussen endorsed by the customs authorities of the country in question
or by any other authority with jurisdiction over matters of purchase tax with respect to official
imports of goods into the country in question if the purchase price exceeds DKK 1,200.
b Buyers residing in other countries outside the EU will be refunded the Danish VAT after the goods
have been presented for customs clearance in connection with the departure of the buyer from
the EU. The exporter’s form should be returned to Bruun Rasmussen after being endorsed with
the customs authorities’ export certificate if the purchase price exceeds DKK 300 This also applies
to the Faroe Islands and Greenland.
§ 5. Payment of taxes and duties
A. Buyers with VAT-registration in other EU member states who do not wish to make use of Article 3
may instead choose to purchase items subject to Special VAT/Normal VAT in the same manner as
private buyers. Bruun Rasmussen must be notified of this before 10 a.m. on the following auction
day.
B. Buyers with VAT-registration in Denmark may choose to purchase subject to Normal VAT at 25%
of the hammer price plus premium. Bruun Rasmussen must be notified of this before 10 a.m. on
the following auction day.
§ 6. Collection of purchases
The purchase price must be paid in full before the purchased lot can be passed over to the buyer.
From the time of the lot being knocked down to the buyer, until its collection, the purchased lot will be
held at the buyer’s own expense and risk.
A storage fee will be charged for lots which have not been collected within 14 days after the time of the
lot being knocked down. Goods which have been paid for but not collected within 1 year will be resold at
auction or privately at the buyer's expense.
§ 7. Dispatch
Should Bruun Rasmussen undertake the packaging and forwarding of purchased goods, this shall be
done at the buyer’s own expense and risk. Bruun Rasmussen shall thus not be held liable neither for
any damage caused to purchased goods during dispatch nor for any missing consignments.
§ 7. Droit de Suite
Pursuant to current Danish legislation on Copyright, an artistic royalty shall be collected on works of
modern art by all Danish and some foreign artists. Bruun Rasmussen will from the buyer collect the
royalties required on behalf of the artists’ organisation Copy-Dan for any work of art subject to this
law. These works are identified in the catalogue by CD for Copy-Dan, marked beside each relevant lot
number.
The artistic royalty will be calculated as follows for each work of art, when the hammerprice exceeds DKK
1,864:
• 5% of the part of the hammerprice ranging from DKK 0 to DKK 310,729 plus the buyer’s premium
(20% excl. VAT)
• 3% of the part of the hammerprice ranging from DKK 310,729 to DKK 1,242,917 plus the buyer’s
premium (20% excl. VAT)
• 1% of the part of the hammerprice ranging from DKK 1,242,917 to DKK 2,175,104 plus the buyer’s
premium (20% excl. VAT)
• 0.5% of the part of the hammerprice ranging from DKK 2,175,104 to DKK 3,107,292 plus the buyer’s premium (20% excl. VAT)
• 0.25% of the part of the hammerprice lying above DKK 3,107,292 plus the buyer’s premium (20%
excl. VAT)
The artistic royalty cannot exceed DKK 93,219 for each work of art.
lots for which he intends to bid by personal inspection at the preview held prior to the auction. The
catalogue description is an indication of the prevailing oppinion of scholars and expert at the time
of the printing of the catalogue. If any doubts should arise after the purchase regarding the genuineness of the purchased lot or its conformance with the catalogue description, Bruun Rasmussen
should immediately be informed thereof.
Should the purchased lot be proved to be a forgery, or if the catalogue description contains material
errors which lead to a considerably higher hammer price than that which a correct catalogue description would presumably result in, the buyer shall be entitled to cancel the purchase, after which the
buyer shall be reimbursed for the total purchase price paid plus buyer's premium and VAT, when
applicable.
For material errors in the catalogue description in respect to measurements or weight, compensation
shall only be paid on a percentage basis in proportion to the difference.
The right of cancellation of a purchase in pursuance of the present conditions can only be exercised
by the party who has bought the lot in question at Bruun Rasmussen and shall be subject to the
presentation of a claim for cancellation in writing to Bruun Rasmussen within 2 years of the purchase
date and to the purchased lot being returned to Bruun Rasmussen in the same condition in any and
all respects which the purchased lot was in at the time of the lot being knocked down to the buyer.
In the event of cancellation the buyer shall not be entitled to claim payment of interest on the
purchase price nor shall the buyer be entitled to claim compensation for any other expenses or loss
incurred, including any possible loss of profit in connection with reselling.
It shall not be possible to state cancellation of a purchase in pursuance of the above provisions if:
a the catalogue description on the day the lot was knocked down to the buyer was in accordance
with the then generally accepted opinion of scholars and experts;
b the only way of establishing whether the lot was a forgery at the time of the publication of
the catalogue was the implementation of scientific processes, the validity of which was only
acknowledged after the time of publication of the catalogue, or which would have required a
disproportionate amount of cost, or which would have been impossible to carry out without
damaging the lot in question.
In addition to the time-limits stated above, all purchases are subject to the Statute of Limitations
stipulated by Danish law by which Bruun Rasmussen is under no circumstance liable for purchases
after 5 years from the date of purchase.
Bruun Rasmussen Auctioneers
Jesper Bruun Rasmussen, auctioneer
Jørgen Byriel, officially appointed external supervisor
§ 9. Export licence
COMMISSION
Applications for an export licence must be made to the Danish Cultural Assets Committee when
required in accordance with current Danish legislation on the protection and preservation of cultural
assets in Denmark. Where such a licence has not been obtained, the foreign buyer will be informed
thereof immediately after the lot has been knocked down to the buyer. Another application will subsequently be sent to the Danish Cultural Assets Committee by Bruun Rasmussen on behalf of the buyer,
now that the price is known. Should an export licence not be granted, the Danish Cultural Assets
Committee would be obliged to acquire the purchased lot at the purchase price, and the buyer would
thus not be bound to the purchase.
Bruun Rasmussen undertakes to execute commission bids for bidders who are unable to be
present at the auction. It is a prerequisite that Bruun Rasmussen receives the commission
24 hours before the start of the auction for the bidders’ credit to be checked, if necessary. Bruun
Rasmussen is not to be held responsible for any errors that may occur using this service.
§ 10. Cataloguing
All lots are sold in the condition in which they are found when knocked down and as described in
the catalogue with subsequently published changes and modifications. Cataloguing is done according
to the best of Bruun Rasmussen’s knowledge and on the cataloguing principles stated.
The lots auctioned are often of some age or of a kind which makes it possible that they may contain
defects, deficiencies, or may have been subject to restoration or damage not necessarily stated in the
catalogue. Catalogue pictures are for identification only and cannot be used for an evaluation of the
condition of the goods.
Any person who wishes to bid at an auction should therefore sa-tisfy himself of the condition of the
CONDITION REPORTS
Bruun Rasmussen undertakes to provide further information about the state and condition of the
lots if possible. This is regarded as a service for customers who are unable to make a personal inspection of the lots at the preview. Bruun Rasmussen stresses that the information given cannot be used
as the basis for complaints; complaints can only be based on the catalogue text.
Exemption FROM VAT
Buyers shall, according to § 2, pay full VAT on lots marked with an asterix *.
No Danish VAT is to be paid when VAT registered companies from other EU countries buy at Bruun
Rasmussen and resell to private buyers, The private buyer then only has to pay VAT according to the
rules in force in the country where the foreign company is VAT registered. For further information
please consult your local authorities.
The above is an English translation of the Danish version of the Conditions of Purchase. In case of dispute, only the Danish version of the present Conditions of Purchase of Bruun Rasmussen is valid.
information
AFHENTNING
DISPATCH
Afhentning af effekter købt på traditionel auktion SKAL SKE senest 2 uger
efter sidste auktionsdag (eller efter aftale).
Collection of purchases bought at traditional auctions must be no later than
2 weeks after the last auctionday.
Uafhentede effekter vil herefter uden yderligere varsel blive sendt til opbevaring for købers regning og risiko.
Uncollected items will without further notice be sent into storage at the
expence and risk of the buyer.
salgsresultater
sales results
Hammerslags-priser fra de seneste auktioner kan ses på vores hjemmeside:
www.bruun-rasmussen.dk
Sales results from the latest auctions are available at our website:
www.bruun-rasmussen.dk
Hammerslags-priser kan også fås ved at ringe til vores automatiske telefon
svarer på telefon: 33 43 69 08.
Sales results are also available at our answering machine.
Please call: +45 33 43 69 08.
FOTO
PHOTO
Fotos af alle effekter kan ses på vores hjemmeside: www.bruun-rasmussen.dk
Photos of all items are available at our website: www.bruun-rasmussen.dk
euro
euro
Det bydes og faktureres i danske kroner.
Bids and invoicing are made in DDK.
Ved omregning fra DKK til Euro er anvendt Nationalbankens officielle valutakurs på tidspunktet for udarbejdelse af kataloget.
For the conversion from DKK into Euro, Bruun Rasmussen has used the
official rate of exchange from Denmarks Nationalbank (the Danish National
Bank) at the time of preparation of the catalogue.
Beløbet i Euro er afrundet til et tal, der efter Bruun Rasmussens skøn fremtræder på en præsentabel måde i forhold til beløbet i DKK.
Bevaringstilstand
Bruun Rasmussen henleder opmærksomheden på, at katalognumrene som
udgangspunkt ikke er forsynet med oplysninger om tilstand (jvf. købskonditionernes § 9). Vi henviser imidlertid til vores hjemmeside:
www.bruun-rasmussen.dk, hvor der under det enkelte katalognummer ofte
er oplysninger om bevaringstilstand, reparationer o. lign. Er disse oplysninger
ikke tilstrækkelige kan én af afdelingens sagkyndige kontaktes for yderligere
informationer.
The amount in Euro is, in Bruun Rasmussen's judgment, roughly adjusted to
presentable figures.
Condition
Bruun Rasmussen draws attention to the fact that, as a rule, no information
is provided regarding the condition of the lots (cf. conditions of purchase §
9). However, we refer to our website: www.bruun-rasmussen.dk where
information regarding condition, repairs, etc. can usually be found for the
individual lot. Should this information be insufficient, further details can be
obtained by contacting one of the experts of the department.
Bankforbindelse
Bankers
Danske Bank · Konto: 30014310970638
IBAN: DK4130004310970638
Swift-BIC DABADKKK
Danske Bank · Account: 30014310970638
IBAN: DK4130004310970638
Swift-BIC DABADKKK
virksomhedsregistrering
business registration
CVR-nr. DK25472020
CVR-nr. DK25472020
m o ms o g k u n st n e rafg i ft
v at a n d c o p y - d a n i n f o rmat i o n
standard auktionsomkostninger
BUYER’S STANDARD PREMIUM
25% - brugt moms
25% AUCTIONEERS’ MARGIN SCHEME
1. januar 1995 trådte nye love i kraft i EU vedrørende moms ved handel på auktion
med brugte varer, kunstgenstande, samlerobjekter og antikviteter, der nu kan handles
til brugt moms.
As of 1 January 1995 new EC regulations came into effect regarding the sale of secondhand goods, works of art, collector’s items and antiques; these items may now be traded
under the Auctioneers’ Margin Scheme.
Efter de nye regler er det kun auktionsomkostninger, der skal tillægges moms, og ikke
som tidligere varens fulde pris. I auktionsomkostninger er indregnet ikke fradragsberettiget moms.
Under the Auctioneers’ Margin Scheme the premium only is subject to VAT, i.e. the
hammer price is exempted from VAT. The buyer’s premium of 25% will thus henceforth
include non-refundable VAT.
Fuld moms *
full vat *
anvendes for visse varer som ikke kan handles i brugt moms. Disse er mærket med en
stjerne *. Købere skal betale 20% i auktionsomkostninger, hvortil lægges 25% moms af
hammerslaget og auktionsomkostningerne.
Reducerede auktionsomkostninger 20%
betales af købere der opfylder følgende betingelser:
1. Danske momsregistrerede købere kan vælge at betale 20% i auktionsomkostninger +
25% moms af hele (fuldmoms). Momsbeløbet kan køber modregne, og betaler derved
20% i auktionsomkostninger.
2. Momsregistrerede købere i andre EU-lande kan, ved at anvende deres EU-momsnr.,
undgå den danske moms og derved betale 20% i auktionsomkostninger.
3. Alle købere med bopæl i et land uden for EU, der opfylder de danske toldmyndigheders
krav i forbindelse med eksport, betaler derved 20% i auktionsomkostninger (se købskonditioner, §3, Afgiftsfritagelse).
Kunstnerafgift til Copy-dan
CD
Ifølge gældende dansk lovgivning om ophavsret, skal der opkræves 5% i kunstnerafgift
af hammerslagsprisen med tillæg af auktionsomkostninger på 20% excl. afgift på værker
af alle nyere danske og de fleste udenlandske kunstnere. Disse værker er mærket CD for
Copy-Dan ud for katalognummeret.
For nærmere information henvises til købskonditionerne.
will be charged on goods that cannot be traded under the Auctioneers’ Margin Scheme.
These lots are marked with an asterix *. The buyer pays the auction premium of 20%
plus 25% vat on the hammer price as well as the buyer’s premium.
BUYER’S REDUCED premium 20%
is paid by buyers fulfilling the following terms/conditions:
1. Danish VAT registered buyers may choose to pay the 20% buyer’s premium + 25%
VAT on the total amount (Full VAT). The buyer may have the total VAT refunded and
thus pays 20% in buyer’s premium only.
2. VAT registered buyers in other EU countries may avoid Danish VAT by using their
VAT registration number and thereby pay a buyer’s premium of 20% only.
3. Residents of countries outside the EU meeting the Danish customs authorities’
requirements regarding the export of goods pay the buyer’s premium of 20% only
(see Conditions of Purchase §3, Exemption from VAT).
Artists’ royalties payable to copy-dan
CD
Pursuant to current Danish legislation on copyright an artists’ royalty of 5% of the total
price exclusive of VAT (i.e. hammer price plus buyer’s premium 20%) shall be collected
on works of modern art by all Danish and most foreign artists. These works are marked
CD for Copy-Dan next to the lot number.
For further information please refer to the Conditions of Purchase.
k o mm i ss i o n sb u d
c o mm i ss i o n b i d s
Det er muligt at afgive kommissionsbud, hvis De ikke selv kan være til stede på auktions
dagen. Denne service er gratis.
Når De afgiver en kommission, beder De vores kundeservice på Deres vegne byde op til et
af Dem bestemt beløb i hammerslag.
Der kan opstå den situation, at en anden køber allerede har budt det beløb, som De ønsker at afgive. Er De da villig til at gå et bud højere eller er De indforstået med at nummeret
sælges til anden side?
Ønsker De ikke at byde højere så skriv “Max” ud for beløbet. Er De i tvivl om hvor højt De
vil byde, kan De hæve budet med op til ca. 15% eller ca. 25%.
Salgsprisen kan blive højere eller lavere end vurderingen, så der er også mulighed for at
købe til under den angivne vurdering. Vor kundeservice køber altid så billigt som muligt
til Dem, som havde De selv været tilstede på auktionen.
Alle kommissioner behandles strengt fortroligt.
Kommisionsbud skal være Bruun Rasmussen i hænde senest 24 timer før auktionens start.
It is possible to leave commission bids if you can not be present at the auction yourself.
This service is free of charge.
When leaving a commission bid, you are instructing our customer service to bid up to a
specified amount on your behalf.
The situation can occur that another buyer has already bid the same as you were prepared
to. Are you then willing to bid further? If not the lot will be sold to another buyer.
If you do not wish to exceed your bid then write “Max", for maximum, next to the
amount. You can also allow us to raise your bid by approx. 15% or approx 25%.
The hammer price may be higher or lower than the estimated price, so it is possible to buy
below the estimate. Bruun Rasmussen will always buy at the lowest price possible, as if
you yourself had been present at the auction.
All commission bids are strictly confidential.
Commission bids must be submitted no later than 24 hours prior to the start of the auction.
Sådan byder De:
How to make a commission bid:
Udfyld blanketten kommissionsbud med alle oplysninger.
Angiv katalognummer.
Angiv beløbet De ønsker at byde.
Er dette Deres absolutte maximum bedes De anføre “Max” i kolonnen.
De kan også forhøje Deres bud med henholdsvis ca. 15% eller ca. 25%, ved at indikere
dette i kolonnen.
De bedes underskrive kommissionsblanketten og sikre Dem, at Bruun Rasmussen modtager
den senest 24 timer før auktionens start.
Hvis Deres oplysninger ikke er tilstrækkelige, kan Bruun Rasmussen undlade at byde for
Dem, ligesom Bruun Rasmussen ikke kan gøres ansvarlig for fejl ved budgivningen.
Complete the commission form with all pertinent information.
Indicate the lot number.
Indicate the amount you are prepared to bid.
Should this amount be the absolute maximum, please write “Max” in the appropriate
column.
You can also allow us to bid by up to approx. 15% or approx. 25% more by indicating so.
Sign the commission form and make sure that Bruun Rasmussen receives it 24 hours prior to
the start of the auction.
If the information should be insufficient, Bruun Rasmussen can abstain from bidding.
Bruun Rasmussen can not be held responsible for error in bidding or failure to execute bids.
internet:
internet:
Kommisionsbud kan afgives på hjemmesiden www.bruun-rasmussen.dk direkte fra siden
med den effekt, De ønsker at byde på.
Seneste afgivelse af bud via hjemmesiden er 3 timer før auktionens start.
Afgivne bud kan ses på hjemmesiden under “Deres bud”, når de er logget ind. Kontakt
teknisk support på 8818 1114 for spørgsmål om registrering og budgivning via internettet.
For yderligere information, se “Købskonditioner”, §1.
Commision bids can be submitted via the website www.bruun-rasmussen.dk directly from
the page with the item you want to submit a bid for.
Deadline for submissions of bids via the website is 3 hours prior to the start of the auction.
Submitted bids are shown under “Your bids” when you are logged in. Please contact
technical support on +45 8818 1114 for questions about the registration and submission
of bids on the website.
For additional information, please consult “Conditions of Purchase” §1.
Navn Name: * ...................................................................................................................................................................................
Adresse Address: * ............................................................................................................................................................................
Postnr./by City: * ..............................................................................................................................................................................
Land Country: * ........................................................................ Fax: ............................................................................................
Tel: * ...................................................................................................................................................................................................
e-mail: ........................................................................................ CVR-nr. VAT No.: ......................................................................
Bank: .......................................................................................... Konto nr. Acct. No.: .................................................................
Adresse Address: ................................................................................................................................................................................ Postnr./By City: ......................................................................... Land Country: ..........................................................................
Tel: .............................................................................................. Kontaktperson Contact: ..........................................................
Obligatoriske felter er mærket med en stjerne * Mandatory fields are marked with an asterix *
Undertegnede giver hermed fuldmagt til Bruun Rasmussen Kunstauktioner A/S om på mine vegne at købe
nedennævnte katalognumre så fordelagtigt som muligt, inden for det af mig anførte beløb, i hammerslag.
I hereby request that Bruun Rasmussen bid on my behalf on the following lots up at the prices indicated below.
"
Ret til ændringer forbeholdes © 2008 Bruun Rasmussen Kunstauktioner
Foto: Bent Lange & Henrik Wichmann Tryk: Narayana Press
Grafik og dtp: Jorge Figueiredo, Steven Leweson & Lene Klibo
Undertegnede har udfyldt ovennævnte med de ønskede oplysninger, samt har accepteret købskonditionerne.
The undersigned has supplied the required information and agrees to be bound by the conditions of purchase.
Signatur: * ................................................................................. B.R. kunde-nr. Client No.: .......................................................
Auktion nr auction no:
Katalog nr.
Lot. No.
Beskrivelse
Description
Bud kr.
Bid DKK
795
Max +15% +25%
B RUUN RA SM USSEN kun staukt ion e r A /S
Bredgade 33 · DK-1260 København K · Tel +45 8818 1111 · Fax +45 8818 1116 · [email protected] · www.bruun-rasmussen.dk

Sell what you have plenty of Buy now what you really love

Transcription

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