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Gösta Adrian-Nilsson

(Sweden, 1884-1965)
Estimate
1 800 000 - 2 000 000 SEK
161 000 - 179 000 EUR
170 000 - 189 000 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)

"Kl. 1/2 12" (Close to midnight)

Signed G.A-N. Probably executed in Stockholm in 1919. Paper-panel 62 x 37 cm.

Provenance

Earlier in the collections of Engineer Egon Östlund, Halmstad and Borås, Sweden.
Private collection.
Bukowski Auktioner, Stockholm, Sale 537, "Moderna höstauktionen", 1 November 2005, lot 110 (under the title "Sjömän i hamn").
Private collection.

Exhibitions

Prins Eugens Waldemarsudde, Stockholm, "GAN -modernistpionjär och outsider", 19 February - 29 May 2011, No. 41.

Literature

"Konst i svenska hem", vol. 3, catalogued p. 140 under collection 165: "Förste Maskiningeniör Egon Östlund, Norra Vägen 4, Halmstad".

More information

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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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