Anders Zorn

Managing Director Hugo Tillqvist (acquired directly from the artist for SEK 20.000).
Olof Tillqvist (son of the above mentioned, by descent).
Bukowski auktioner, Stockholm, Sale 423, ”Höstauktionen”, 1-4 November 1983, lot 304 (illustrated in the catalogue, Colourplate 1).
Private collection, Sweden (acquired at the above Sale).
Sotheby’s, London, ”Scandinavian Paintings and Drawings 1880-1930”, 23 March 1988, lot 81.
Private collection, Sweden (acquired at the above Sale).
Sotheby’s, London, 24 June 1998, lot 62.
Åmells konsthandel, Stockholm (acquired from the above).
Private collection, Sweden (acquired from the above).

Konstföreningen, "Anders Zorn", 1912.
Liljevalchs konsthall, Stockholm, ”Invigningsutställning – Larsson-Liljefors-Zorn”, March – April 1916, cat no 67.
Liljevalchs konsthall, Stockholm, "Carl Larsson. Bruno Liljefors. Anders Zorn", 9 July - 17 August 1930, cat no. 295.
Liljevalchs konsthall, Stockholm, ”Svensk Konstkavalkad. Jubileumsutställning 1916-1956”, 21 September – 21 October 1956, cat no 17.
Riddersberg, "Svenska mästare på Riddersberg", 29 April - 29 July 1990.

Ernst Malmberg, ”Larsson-Liljefors-Zorn. En återblick”, 1919, mentioned p. 117, illustrated in interior photograph from the exhibition p. 83 and illustrated full page in the plate section.
Karl Asplund, ”Anders Zorn. His life and work”, 1921, mentioned p. 54 (under the title ”The Hinds”).
Franz Servaes, ”Künstlermonographien, 102, Anders Zorn”, 1925, mentioned p. 48 and illustrated full page in colour, against p. 64 (under the title ”Weibliche Akte im Freien”).
Tor Hedberg, ”Anders Zorn. 1894-1920”, SAK, 1924, mentioned p. 92 and illustrated p. 95 (Bild 68).
”Konst i svenska hem”, no 8, catalogued p. 421 under collection 716: ”Ryttmästare Olof Tillquist, Strandvägen 47, Stockholm”.
Gerda Boëthius, ”ZORN. Tecknaren, Målaren, Etsaren, Skulptören”, 1949, mentioned pp. 481-482 and catalogued under year 1908, p. 552.
Anders Zorn, ”Självbiografiska anteckningar”, edited by Hans Henrik Brummer, 1982, mentioned p. 150.
Inger Fredriksson, ”Anders Zorn –Mannen, Mästaren, Myten”, 1984, mentioned p. 68.
Göran Hellström & Carl-Gustaf Petersén, ”Det stora konstspelet –Hur 80-talets gyllene konstmarknad förvandlades till trauma på 90-talet”, 1994, mentioned pp. 50-51, illustrated in interior photograph from Bukowskis, Pl. 5, and catalogued p. 271.
Anders Zorn, ”Självbiografiska anteckningar”, edited by Birgitta Sandström, 2004, mentioned p. 243.

Anders Zorn, born in Mora in 1860, showed artistic talent from a young age. In 1875, he traveled to Stockholm and became a student at the then Slöjdskolan (now Tekniska högskolan) in Stockholm, and shortly after, he joined the Royal Academy of Fine Arts. Initially, Zorn had aspirations of becoming a sculptor, but soon watercolor painting took over, becoming his primary medium until 1887. At the student exhibition in 1880, Zorn had his breakthrough with the watercolor painting "I sorg." The following year, he gained international acclaim as a portrait painter. His watercolor painting reached its pinnacle during this period, and his most famous work from this time is "Vårt dagliga bröd” from 1886. Shortly thereafter, Zorn transitioned to oil painting, which was met with immediate success. Zorn's reputation mainly rested on his portrait art, and he portrayed many notable figures, including presidents. For instance, he created an etching of Theodore Roosevelt. His etchings significantly contributed to his success. In the late 1880s, Zorn began working in the genre that would increasingly become his trademark: nude figures in outdoor settings. He had long been fascinated by the movement of water and the reflections of light on its surface. Now, he added the complexity of placing a model near or in the water, aiming to depict a synthesis between nature and humanity. In 1896, Zorn and his wife moved back to Sweden and settled in Zorngården in Mora. This move sparked a renewed interest in his homeland, which would be reflected in his future paintings. Among the artist's scenes from the Mora region, portraying its local customs and ancient traditions, "Midsommardansen" holds the highest value according to Zorn himself. Today, the painting can be found at the National Museum.