8
8

PROPERTY FROM THE ESTATE OF PETER ZOBEL

Anders Zorn
SWEDISH
IN THE BEDROOM
Estimate
400,000600,000
LOT SOLD. 429,000 GBP
JUMP TO LOT
8

PROPERTY FROM THE ESTATE OF PETER ZOBEL

Anders Zorn
SWEDISH
IN THE BEDROOM
Estimate
400,000600,000
LOT SOLD. 429,000 GBP
JUMP TO LOT

Details & Cataloguing

19th Century European Paintings

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London

Anders Zorn
1860 - 1920
SWEDISH
IN THE BEDROOM
signed and dated Zorn 1918 upper right
oil on canvas
98.5 by 62.5cm, 38¾ by 24½in.
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Provenance

Private collection, Sweden (since 1937; sale: Sotheby's, New York, 23 October 1990, lot 213)
Peter Zobel (purchased at the above sale; Danish businessman and landowner Zobel (1935-2017) was CEO of Codan, Denmark’s leading insurance company, founded in 1916. In 1996 he acquired Bækkeskov, a seventeenth-century manor house and estate near Præstø in South Zealand.)

Literature

Gerda Boëthius, Anders Zorn. Tecknaren, målaren, etsaren, skulptören, Stockholm, 1949, p. 555, listed

Catalogue Note

This work and In the Artist's Studio (lot 5) occupy a unique position within Zorn's oeuvre for transposing the nude, which he typically painted against natural or rustic backdrops, into more urban settings. Zorn had commenced work on his female nudes in natural surroundings in Dalarö, in Stockholm’s archipelago, in the summer of 1887, and later in Dalarna, either in the surrounding forests or by its river banks, or warming themselves by the fire in his rustic retreats in Mora and Gopsmor. 

Here, the model leans on an elegant gilt bedstead, flanked by a gilt chair, in a plush city interior worlds apart from the log cabins of Mora and Dalarö. She is unselfconsciously absorbed in her thoughts in an intimate moment, unaware that she is being observed, much like Edgar Degas's nudes seen 'through the keyhole' (fig. 1). Indeed, after moving to Paris in 1888 Zorn fraternised with many French artists including Degas, Pierre-Auguste Renoir, and Albert Besnard.

The painting perfectly reflects Zorn’s dual identity and the contrasting worlds in which he moved: the vitality of the wholesome and natural subject a reminder of his roots in his beloved rural Dalarna, the bourgeois interior a reflection of the urbane life - fraternising with Presidents and the nobility alike - to which he owed his wealth and success. As Carl Larsson noted, 'Zorn was at home here [in Paris], as he was everywhere, just like a fish in water. He painted and etched exquisite works: Renan, Berthelot, Faure, and Coquelin Cadet, their wives and mistresses.'

19th Century European Paintings

|
London