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Gösta Adrian-Nilsson

(Sweden, 1884-1965)
Estimate
300 000 - 350 000 SEK
26 800 - 31 300 EUR
27 500 - 32 100 USD
Hammer price
Unsold
Covered by droit de suite

By law, the buyer will pay an artist fee for this work of art. This fee is 5% of the hammer price, or less. For more information about this law:

Sweden: BUS
Finland: Kuvasto

Purchasing info
Image rights

The artworks in this database are protected by copyright and may not be reproduced without the permission of the rights holders. The artworks are reproduced in this database with a license from Bildupphovsrätt.

Gösta Adrian-Nilsson
(Sweden, 1884-1965)

"Till Joy" (To Joy)

Signed GAN. Executed in Paris in 1922. Illustrated children's book comprising title page and nine full page illustrations in watercolour on paper, each measuring 29.5 x 25 cm.

Provenance

Gift directly from the artist to Joy (daughter of the composer Gösta Nystroem and the sculptor Gladys Heyman) on Christmas Eve 1922 in Paris.
Galerie Bel'Art, Stockholm, 1984.
Private collection, Sweden (acquired from above 1984).

Exhibitions

Liljevalchs Konsthall, Stockholm, "GAN. Gösta Adrian-Nilsson. 1884-1965", 6 April - 20 May 1984, no. 164 (under the title "Julklappsbok till Joy").
Malmö Konsthall, "GAN. Gösta Adrian-Nilsson. 1884-1965", 29 June - 26 August 1984, no. 164 (under the title "Julklappsbok till Joy").

More information

Original covers with inscribed dedication from the artist included.

Designer

Gösta Adrian-Nilsson is most notable as a visual artist, and he is a pioneer of Swedish modernism. He studied at the Tekniske Selskabs Skole in Copenhagen and later for Johan Rohde at Zahrtmann’s school in Copenhagen. As an avant-gardist, Nilsson was constantly searching for new influences. In Berlin, he was influenced by the circle around the radical magazine Der Sturm, through Kandinsky and och Franz Marc. In Paris through Fernand Legér and the artists in his circle. GAN was an eclectic in the positive sense of the word. He took the the artist styles of the 1900s and created new impressions. Symbolism, cubism, futurism, expressionism, constructivim and Theosophy were the colours occupying his internal pallet. He had a sharp eye for the masculine and his painting was often energized by the vitality of modern technology, vibrant eroticism, and echoes of tyrants. No other Swedish modern artist exhibits such a unique style.

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