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100
1567339

Åke Holm

(Sweden, 1900-1980)
Estimate
6 000 - 8 000 SEK
531 - 707 EUR
543 - 724 USD
Hammer price
24 000 SEK
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.

For condition report contact specialist
Camilla Behrer
Stockholm
Camilla Behrer
Head of Design/ Specialist Modern & Contemporary Decorative Art & Design
+46 (0)708 92 19 77
Åke Holm
(Sweden, 1900-1980)

a large "Nimrod" chamotte stoneware dish, Höganäs, Sweden, 1950s-60s.

Painted decoration of a hunter on horseback and birds in blue and brown, signed ÅKE Holm and painted face. Approx. 57 x 59 cm, height/depth 11.5 cm.

Literature

Ronny Rudolf & Rolf Lindstrup, "ÅKE Holm - Keramiker och skulptör", Hässleholm 2016, compare similar plate, ill. p. 267.

Designer

Åke Holm was a Swedish ceramicist and sculptor active in Höganäs. He began at Höganäsbolaget in 1915 after working for a year at Andersson & Johansson in Höganäs. At Höganäsbolaget, Holm learned the craft of firing and glazes and he also assisted the designer Edgar Böckman. In 1928, Åke Holm started his own studio. He first became known for the so-called Kullatrolls, which were sold as souvenirs in about fifty different models. During the 1930s, Holm created his first artworks featuring biblical figures in terracotta and continued in the 1940s with glazed stoneware figures. Holm also produced animal figures, and the forms became increasingly stylised; he also created decorative and utilitarian wares such as pots, plates, and bowls in various glazes. During the 1950s and 60s, he produced monumental sculptures with biblical themes that continued to dominate his work. Holm often used black glaze that appeared like iron. The figures became increasingly sculptural, stylised, and almost abstract.

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