Welcome to The Auction Report – your insider guide to the auction world. Get behind-the-scenes access, expert tips on current auctions, and the chance to discover the big names of the future.
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Welcome to The Auction Report – your insider guide to the auction world. Get behind-the-scenes access, expert tips on current auctions, and the chance to discover the big names of the future. |
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Current auctions not to miss according to our experts. |
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GOTHIC RING
Estimate: 20 000 SEK |
| ISAAC GRÜNEWALD
Estimate: 120 000 SEK |
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THEA EKSTRÖM
Estimate: 6 000 SEK |
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Thea Ekström was a fascinating artist with a unique visual language. After a career in music, she took up painting later in life, holding her first solo exhibition in 1960 at the age of 40. Her style is distinctive yet difficult to categorise—surrealism, minimalism, and symbolism all intertwine in her work. When asked to define her art, she simply replied: "What I do, I don’t know. I just do." She often signed her paintings with a date, which became the title of the piece. Though she never achieved the major breakthrough she deserved, her work was exhibited internationally and acquired by both museums and collectors. This painting is now featured in the auction "Female Artists – 150 Years of Creativity."
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- Tom Österman, art and antique furniture expert |
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AXEL "DÖDERHULTARN" PETERSON
Estimate: 30 000 SEK |
| WIWEN NILSSON
Estimate: 15 000 SEK |
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I’m totally taken with this Dr. No US six sheet poster. Many countries have their own standard sizes for film posters, so collectors tend to be patriotic. As a Brit, I favour the British quad (30 x 40 inches)—the nostalgia is so much stronger with a poster you could have seen in your own local cinema. However, international posters offer different formats and new artwork, and the vibrant art and impressive size of this poster makes it irresistible. US six sheets came in four parts to be pasted to billboards for temporary display, meaning they were destroyed after use. This makes it a rare survivor.
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- Kayleigh Davies, toys and art glass expert |
| DR. NO (1962)
Estimate: 3 000 GBP |
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CRICKET TABLE
Estimate: 200 GBP |
| ERIK CHAMBERT
Estimate: 8 000 SEK |
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A Deep Dive with Andreas Siesing |
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4015106. MÄRTA RUDBECK. "Linnea". |
"Blue Blood and Lily-White Hands"—that is the title of an ethnological study of aristocratic women from 1850 to 1900, written by Angela Rundquist. I am reading it, alongside Matilda Eliasson’s master’s thesis on Märta Rudbeck, poetically titled "A Forgotten World of Flowers." The impression given is that life as a noblewoman at the turn of the 19th century was, if I may say so, no bed of roses. At the same time, I find myself increasingly drawn to the idea of hanging one of Rudbeck’s oil-painted bouquets on my wall.
I follow Eliasson’s lead and trace Märta Rudbeck’s path from her enrolment at Caleb Althin’s painting school in 1899 to the autumn term of 1901 at the Royal Academy of Fine Arts, the "praise" she received there, and her time in Paris, with its open studios, "male nude models or clothed figures." But, as I said, I am more than content with flowers.
And at Stockholms Auktionsverk, which now presents 87 works under the title "Female Artists – 150 Years of Creativity," stands a thick-walled vase filled with Linnaea borealis. Wikipedia informs me that the Linnaea is an "evergreen woody plant" that "creeps along the ground." You can see that clearly in Rudbeck’s work—the greenery is spilling out of the vase, making you want to neaten it up before it completely takes over. A strikingly alive painting. By the time I finish reading, I feel I have formed a connection, however small, with Märta Rudbeck. |
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There is a patch of wallpaper in my kitchen that could truly come to life with an "evergreen woody plant." In the slow, Sisyphean task of rewriting art history and rediscovering female artists, Rudbeck’s Linnaea in my kitchen could become a microscopic piece in a puzzle that will never be fully completed but is gradually gaining shape—offering an authentic glimpse into how things once were.
Eliasson guides me through taxation tables and widow’s pensions, studios on Hamngatan and David Bagares Gata in Stockholm, and sales through Fritze’s art dealership, leading up to Rudbeck’s untimely death in 1933. |
- Andreas Siesing, design and 20th-century furniture expert |
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A Deep Dive with
Andreas Siesing |
4015106. MÄRTA RUDBECK. "Linnea". |
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"Blue Blood and Lily-White Hands"—that is the title of an ethnological study of aristocratic women from 1850 to 1900, written by Angela Rundquist. I am reading it, alongside Matilda Eliasson’s master’s thesis on Märta Rudbeck, poetically titled "A Forgotten World of Flowers." The impression given is that life as a noblewoman at the turn of the 19th century was, if I may say so, no bed of roses. At the same time, I find myself increasingly drawn to the idea of hanging one of Rudbeck’s oil-painted bouquets on my wall.
I follow Eliasson’s lead and trace Märta Rudbeck’s path from her enrolment at Caleb Althin’s painting school in 1899 to the autumn term of 1901 at the Royal Academy of Fine Arts, the "praise" she received there, and her time in Paris, with its open studios, "male nude models or clothed figures." But, as I said, I am more than content with flowers.
And at Stockholms Auktionsverk, which now presents 87 works under the title "Female Artists – 150 Years of Creativity," stands a thick-walled vase filled with Linnaea borealis. Wikipedia informs me that the Linnaea is an "evergreen woody plant" that "creeps along the ground." You can see that clearly in Rudbeck’s work—the greenery is spilling out of the vase, making you want to neaten it up before it completely takes over. A strikingly alive painting. By the time I finish reading, I feel I have formed a connection, however small, with Märta Rudbeck. |
There is a patch of wallpaper in my kitchen that could truly come to life with an "evergreen woody plant." In the slow, Sisyphean task of rewriting art history and rediscovering female artists, Rudbeck’s Linnaea in my kitchen could become a microscopic piece in a puzzle that will never be fully completed but is gradually gaining shape—offering an authentic glimpse into how things once were.
Eliasson guides me through taxation tables and widow’s pensions, studios on Hamngatan and David Bagares Gata in Stockholm, and sales through Fritze’s art dealership, leading up to Rudbeck’s untimely death in 1933. |
- Andreas Siesing, design and 20th-century furniture expert |
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Happy Bidding! Best wishes,
Auctionet's experts
Andreas Siesing, Tom Österman, Kayleigh Davies and David Brolin. |
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Happy Bidding! Best wishes,
Auctionet's experts
Andreas Siesing, Tom Österman, Kayleigh Davies and David Brolin. |
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