Anders Zorn

Fritzes Kungliga Hovbokhandel, Stockholm (by 1926. Fritzes Kungliga Hovbokhandel was a publishing house for whom Carl Larsson illustrated several books)
Dr Emil Hultmark, Stockholm (philanthropist, intellectual and art collector of mainly Swedish and Chinese works of art)
Sale: Bukowskis, Stockholm, 2-5 November 1976, lot 199 
Gösta Gustafsson (acquired at the above sale)
Sale: Bukowskis, Stockholm, 30 May 2006, lot 86
Acquired by the father of the present owners at the above the sale; thence by descent
 

Stockholm, Liljevalchs Konsthall, Invigningsutställning. Larsson-Liljefors-Zorn, 1916, no. 110
Copenhagen, Konstutställningen Charlottenburg, 1916, no. 799
Stockholm, Kungliga Akademien för de fria konsterna, Emil Hultmarks samling, 1942, no. 203 (titled Den röda strumpan).

Ernst Malmberg, Larsson-Liljefors-Zorn. En återblick, 1919, p. 122; p. 123 (illustrated in a photo of the inaugural exhibition at Liljevalchs 1916)
Maj Sterner, 'Fil. dr. och Fru Emil Hultmarks hem, Birger Jarlsgatan 32, Stockholm', in Svenska hem i ord och bilder, 1936, p. 177; p. 179, illustrated 
Gerda Boëthius, Zorn. Tecknaren. Målaren. Etsaren. Skulptören, 1949, p. 553 (incorrectly dated 1913)

The following condition report has been provided by Hamish Dewar Ltd, 13 & 14 Mason's Yard, London SW1Y 6BU: Structural Condition The canvas is unlined and is securely attached to the artist's original keyed wooden stretcher. This is providing an even and stable structural support. Paint Surface The painting has a relatively even but slightly discoloured varnish layer and would respond well to cleaning. The paint surface has an ingrained dirt layer and scattered accretions, including within the lower part of the central figure's clothing, and several small spotty deposits running intermittently along the lower part of the left vertical framing edge. Inspection under ultra-violet confirms the discoloured and slightly opaque varnish layer. Inspection under ultra-violet light also shows scattered areas of fluorescence within the central figure's face and flesh tones. These appear attributable to the artist's materials and techniques. No retouchings are visible under ultra-violet light. Summary The painting would therefore appear to be in very good and stable condition and would benefit from cleaning, restoration and revarnishing.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Born out of wedlock to a Swedish brewery maid and a German master-brewer, Anders Zorn (literally 'anger' in German) fought his way in the art world and became a successful artist with a fashionable clientele in both Europe and America. Yet, despite his fame, Zorn never turned away from his modest origins. In fact, he promoted local traditions from his native Mora both culturally and economically, and enjoyed spending time there amongst farmers and common people to the point that one of his wife’s relatives once described him as 'a hybrid between a gentleman and a farmer'.

Red Stockings was exhibited in the 1916 exhibition of Liljevalchs art gallery, which Zorn shared with Bruno Liljefors and Carl Larsson and which included 134 paintings executed between 1880-1916.

Zorn spent most of his winters in Dalarna, a region in central Sweden, between his studios in Mora and Gopsmor, where the present work was painted. Painted in 1914, the present work depicts a half-naked girl about to get dressed in a traditional green Mora costume, and another in the background getting up. The red hairband is an indication that the girl is unmarried. Using as always a very limited palette of earthy colours, the artist masters light and shadow with remarkable skill. Despite the model's nakedness, the picture has a crude physicality far removed from the suggested sexuality for which Zorn was often criticized, and which had led the Berlin police to seize reproductions of Zorn’s nudes from Paul Heckscher’s gallery. On the contrary, the present work could not be more authentic and evocative of the simple life of Mora.