Sell what you have plenty of Buy now - Bruun Rasmussen

“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 Bredgade 31 

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 (2.1) 

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 (1.10) 

Peter Christmas-Møller Moderne kunst Bredgade 25 

Peter Kjelgaard Dansk møbelkunst Bredgade 25 

Vi kan desværre ikke tilbyde parkering i gården.

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! 

Jesper Bruun Rasmussen

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 

bredgade@bruun-rasmussen.dk · 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! 

Jesper Bruun Rasmussen

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 

bredgade@bruun-rasmussen.dk · www.bruun-rasmussen.dk

auction 795 

tuesday 18 november 

6 pm tresór - 60 years 1 - 79 

selected paintings 

wednesdy 19 november 

1 pm paintings 200 - 424 

thursday 20 november 

1 pm paintings and drawings 425 - 614 

6 pm tresór - 60 years 101 - 187 

modern paintings and design 

antiques 

friday 21 november 

11 pm russian paintings and antiques 700 - 1070 

(separate catalogue) 

monday 24 november 

1 pm furniture and clocks 

tuesday 25 november 

1 pm furniture and clocks 

wednesday 26 november 

1 pm silver and jewellery 

thursday 27 november 

1 pm oriental works of art and carpets 

friday 28 november 

1 pm ceramics and glass

Tuesday 18 November at 6 pm 

lot 1 - 79

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 

1 

12 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 

BRUUN RASMUSSEN TRÉSOR 

2 

13

3 

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 



4 

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5 

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). 

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 

I. C. Dahl 

6 

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 



7 

19

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 

8 



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 



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11 

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 


12 



"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 


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 



"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 


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27

15 

15 

Jens Juel 


A pair of portraits of bookkeeper at Asiatisk Kompagni 

Christophe Battier (died in Paris 1783) and 

his wife Anna Elisabeth Battier, née Storp (1755- 

1793). 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 


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16 



"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 

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 



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17 

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 



“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 



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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 



19 

35



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 

37

21 



"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 



21 

39

22 

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 



23 

41

24 

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 

ornamentation. DKK 300.000 / € 40.000 

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 



25 

43

26 

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 



27 

45

28 



"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 



28 

47

29 

29 



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 



30 

49

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 



31 

51

32 

32 

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. 

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 



33 

55

34 

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 


"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 



35 

57

36 

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 


"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 



37 

59

38 


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 


39 

61

40 


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 



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 


41 

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 



42 

65

43 


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 


44 

67

45 

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, 


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 


46 

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 


46 

69

47 


47 



"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 


71

48 

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 



"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 



49 

73

50 

50 

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 


"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 



51 

75

52 

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 



52 

77

53 

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 



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 



54 

79

55 

55 

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 



81

56 



"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 



56 

83

57 

57 



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 1864- 

1916", 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 


Provenance: Johannes C. Bock, his auction, Winkel & Magnussen 

380, 1953 no. 41. DKK 150.000 / € 20.000 


58 



"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 


58 

85

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 

59 



60 

60 

Paul Fischer 


Winter day in Kongens Nytorv with two elegant women. 


DKK 450.000 / € 60.000 

87

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 

61 


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 

89

63 

63 

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 


64 



"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 

91

65 


65 

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 

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 



68 

95

69 

69 



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. 

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 


70 

97

71 

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 

71 



72 

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 

99

73 

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 


74 

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 


74 

101

75 


75 

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

77 

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 

77 



78 

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 

105

79 

79 CD 

Bruno Liljefors 

b. Uppsala 1860, d. Stockholm1939 

Forest scene with a black grouse in a pine. 

Signed and dated Bruno Liljefors 1931. 


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 



101 

109

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. 

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 



102 

111

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 



103 

113

104 

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 


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 


105 

115

106 

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 



107 

117

108 

108 

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. 

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 


109 

119

110 

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 


111 

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). 

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 


111 

121

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 



112 

123

113 

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 



113 

125

114 

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 



114 

127

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 



115 

129

116 

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 



116 

131

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 

117 117 

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 

133

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- 

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 


118 


135

119 

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 1991- 

2001", 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. 

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 



120 

139

121 

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 

140 BRUUN RASMUSSEN TRÉSOR 

121 

122


123 

123 

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 

125 

124 

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 

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 

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 



127 

143

128 

128 

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. 

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 


129 

130 

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

131 131 

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 


132 

147

133 

133 

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 


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

136 

136 

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 


137 

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

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 


139 

153

140 

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 

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 

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


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 

145 



146 

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 

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 

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 

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 

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 

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 


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 



154 

167

155 

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 

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 

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 



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 



159 

173

160 

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. 

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 

"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 

162 



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 



164 

179

165 


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 



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 


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 

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 

171 


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


174 

173 

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 Sainte- 

Antoine 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


174 

189

175 

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 



176 

191

177 

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. 

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 



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 



180 

197

181 

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 1795- 

1889, pp 239-245. DKK 500.000 / € 67.000 

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 

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 

183 


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 

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. 

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 


obverse 

enlarged 300% 


186 

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


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 

Ancher, Anna 44 

Ancher, Michael 40, 41, 47, 49 

Artschwager, Richard 114 

B 

Balsgaard, Carl 24 

Beers, J. de 171 

Brendekilde, H. A. 59, 68 

C 

Carracci, Annibale, studio of 33 

d 

Dahl, I. C. 6 

Dalsgaard, Christen 75 

Dreyer, Dankvart 2 

e 

Eckersberg, C. W. 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 107 

H 

Hammershøi, Vilhelm 52, 54, 56 

57, 58, 64, 69 

Hansen, Constantin 27 

Hansen, Heinrich 8 

Heerup, Henry 102 

Henning, Gerhard 160 

Hermann, Jacob 110 

Holm, Christian 34 

Holsøe, Carl 63, 73, 74 

i 

Ilsted, Peter 48 

J 

Jacobsen, Robert 105 

Jensen, I. L. 11 

Jerichau Baumann, Elisabeth 38 

Johansen, Viggo 43 

Juel, Jens 3, 4, 15, 19 

Juhl, Finn 108 

K 

Kindt-Larsen, Tove og Edvard 109 

Kjærholm, Poul 111 

Kloss, Frederik Theodor 20 

Krøyer, P. S. 32, 42, 45, 46, 51 

Kvium, Michael 115 

Küchler, Albert 22, 26 

Købke, Christen 5 

L 

Larsen, Johannes 61 

Liljefors, Bruno 79 

Lund, F. C. 35 

Lundbye, Johan Thomas 36 

Lundstrøm, Vilhelm 101 

M 

Marstrand, Wilhelm 17, 18, 21 

Mønsted, Peder 72 

P 

Petersen, Robert Storm 103 

Petzholdt, Fritz 9 

Philipsen, Theodor 37 

R 

R, Tal 118 

Ramos, Mel 113 

Ring, L. A. 71 

Ring, Ole 78 

Ruscha, Edward 116 

Rørbye, Martinus 39 

S 

Schjerfbeck, Helene 104 

Skovgaard, P. C. 31 

Snyders, Frans 25 

Stanley, Robert 120 

Sørensen, C. F. 10, 30 

T 

Thomsen, Carl 76 

Thøming, Friedrich 13, 23 

Tuxen, Laurits 50 

W 

Warhol, Andy 117 

Wegener, Gerda 106 

Wesselmann, Tom 112

KøBSKondiTioneR 

§ 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-dAn 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 kunst værk, når hammerslagsprisen overstiger 

DKK 1.864: 

• 5% af den del af hammerslagsprisen, der ligger mellem DKK 0 og DKK 310.729 med tillæg af 

auktionsomkost ninger på 20% ekskl. afgift 

• 3% af den del af hammerslagsprisen, der ligger mellem DKK 310.729 og DKK 1.242.917 med 

tillæg af auktions omkostninger 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 auktions omkostninger 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 -om kostninger på 20% ekskl. afgift 

• 0,25% af den del af hammerslagsprisen, der ligger over DKK 3.107.292 med tillæg af auktions- 

omkostninger 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.

CondiTionS oF PuRCHASe 

§ 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 (herein after 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 quo ted 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 Da nish legislation 

on Special VAT Scheme for Sales of Works of Art, Collec tors’ 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 Euro card. Personal foreig n cheques may only be used for payment by prior arrange ment. 

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 re sell 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 Ras mussen 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 be half 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 refund ed 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 autho rities’ 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 for warding 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 


• 0.5% of the part of the hammerprice ranging from DKK 2,175,104 to DKK 3,107,292 plus the buyer’s 


• 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. 

§ 9. exPoRT LiCenCe 

Applications for an export licence must be made to the Danish Cultu ral 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. Anot her application will subse 

quently be sent to the Danish Cultural Assets Committee by Bruun Ras mussen on behalf of the buyer, 

now that the price is known. Should an export licence not be granted, the Danish Cultural Assets 

Com mittee would be obliged to acquire the purchased lot at the purchase price, and the buyer would 

thus not be bound to the purchase. 

§ 10. CATALoGuinG 

All lots are sold in the condition in which they are found when knocked down and as described in 

the catalogue with subse quently 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 

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 prevai ling 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 confor mance with the catalogue description, Bruun Rasmussen 

should immedia te ly 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 consi derably 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 measure ments 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 wri ting 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 pay ment of interest on the 

purchase price nor shall the buyer be entitled to claim compensation for any other ex pen ses 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 implementa tion 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. 

CoMMiSSion 

Bruun Rasmussen Auctioneers 

Jesper Bruun Rasmussen, auctioneer 

Jørgen Byriel, officially appointed external supervisor 

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. 

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 informa tion given cannot be used 

as the basis for complaints; complaints can only be based on the catalogue text. 

exeMPTion FRoM vAT 

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. 

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 re gistered. For further information 

please consult your local authorities.

information 

AFHenTninG 

Afhentning af effekter købt på traditionel auktion SKAL SKE senest 2 uger 

efter sidste auktionsdag (eller efter aftale). 

Uafhentede effekter vil herefter uden yderligere varsel blive sendt til opbevaring 

for købers reg ning og risiko. 

SALGSReSuLTATeR 

Hammerslags-priser fra de seneste auktioner kan ses på vores hjemmeside: 

www.bruun-rasmussen.dk 

Hammerslags-priser kan også fås ved at ringe til vores automatiske telefonsvarer 

på telefon: 33 43 69 08. 

FoTo 

Fotos af alle effekter kan ses på vores hjemmeside: www.bruun-rasmussen.dk 

euRo 

Det bydes og faktureres i danske kroner. 

Ved omregning fra DKK til Euro er anvendt Nationalbankens officielle valutakurs 

på tids punktet for udarbejdelse af kataloget. 

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 opmærksom heden på, at katalognumrene som 

udgangs punkt 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 bevarings tilstand, reparationer o. lign. Er disse oplysninger 

ikke tilstrække lige kan én af afdelingens sagkyndige kontaktes for yderligere 

informationer. 

BAnKFoRBindeLSe 

Danske Bank · Konto: 30014310970638 

IBAN: DK4130004310970638 

Swift-BIC DABADKKK 

viRKSoMHedSReGiSTReRinG 

CVR-nr. DK25472020 

diSPATCH 

Collection of purchases bought at traditional auctions must be no later than 

2 weeks after the last auctionday. 

Uncollected items will without further notice be sent into storage at the 

expence and risk of the buyer. 

SALeS ReSuLTS 

Sales results from the latest auctions are available at our website: 

www.bruun-rasmussen.dk 

Sales results are also available at our answering machine. 

Please call: +45 33 43 69 08. 

PHoTo 

Photos of all items are available at our website: www.bruun-rasmussen.dk 

euRo 

Bids and invoicing are made in DDK. 

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. 

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 

infor mation 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. 

BAnKeRS 

Danske Bank · Account: 30014310970638 

IBAN: DK4130004310970638 

Swift-BIC DABADKKK 

BuSineSS ReGiSTRATion 

CVR-nr. DK25472020

MoMS oG KunSTneRAFGiFT 

vAT And CoPy-dAn inFoRMATion 

STAndARd AuKTionSoMKoSTninGeR 

25% - BRuGT MoMS 

1. januar 1995 trådte nye love i kraft i EU vedrørende moms ved handel på auktion 

med brugte varer, kunst genstande, samler objekter og antikviteter, der nu kan handles 

til brugt moms. 

Efter de nye regler er det kun auktionsomkostninger, der skal tillægges moms, og ikke 

som tidligere varens fulde pris. I auk tionsomkostninger er indregnet ikke fradragsberettiget 

moms. 

FuLd MoMS * 

anvendes for visse varer som ikke kan handles i brugt moms. Disse er mærket med en 

stjerne *. Købere skal betale 20% i auk tionsomkostninger, 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). Moms beløbet 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 op fylder 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. 

BuyeR’S STAndARd PReMiuM 

25% AuCTioneeRS’ MARGin SCHeMe 

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. 

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. 

FuLL vAT * 

will be charged on goods that cannot be traded under the Auc tioneers’ 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.

KoMMiSSionSBud 

CoMMiSSion BidS 

Det er muligt at afgive kommissionsbud, hvis De ikke selv kan være til stede på auk tions - 

dagen. Denne service er gratis. 

Når De afgiver en kommission, beder De vores kundeser vice 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 kun deservice 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. 

SådAn BydeR de: 

Udfyld blanketten KOMMISSIONSBUD med alle oplys ninger. 

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 ind ikere 

dette i kolonnen. 

De bedes underskrive kommissionsblanketten og sikre Dem, at Bruun Rasmussen mod tager 

den senest 24 timer før auktionens start. 

Hvis Deres oplysninger ikke er tilstrækkelige, kan Bruun Ras mussen undlade at byde for 

Dem, ligesom Bruun Rasmussen ikke kan gøres ansvarlig for fejl ved budgivningen. 

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. 

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 maxi mum, 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 estima ted 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. 

HoW To MAKe A CoMMiSSion Bid: 

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 maxi mum, please write “Max” in the ap pro priate 

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 Ras mus sen 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: 

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.

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 

" 

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. 

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.: ...................................................... 

Katalog nr. Beskrivelse Bud kr. 

Lot. No. Description Bid DKK 

BRuun RASMuSSen KunSTAuKTioneR A/S 

AUKTION NR AuCTIoN No: 795 

Max +15% +25% 

Bredgade 33 · DK-1260 København K · Tel +45 8818 1111 · Fax +45 8818 1116 · bredgade@bruun-rasmussen.dk · www.bruun-rasmussen.dk

Sell what you have plenty of Buy now - Bruun Rasmussen

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