Öyvind Fahlström

Swedish, 1928–1976

172 followers

Öyvind Fahlström

Bio

Swedish, 1928–1976

Followers
172
Auction results
Filter auction results to compare past lots by medium, size, and more. Note that auction prices vary based on market specifics at the time of the auction and may not be indicative of the current gallery market. To get the best sense of value, pair the artist’s auction results with their career highlights like exhibition history, gallery representation, and presence in museum collections. For more information on how auction pricing differs from gallery pricing, check out this article.
This is based on the artwork’s average dimension.
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Showing 31 results
Showing 31 results
$22,500
Untitled, 1928-1976
Sold on Sep 28, 2017
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Artwork Info
Work on Paper
lacquer, gouache, felt-tip pen and masking tape on paper
68.3 x 54.9 cm
Estimate
Realized Price
$22,500
Auction Sale
Sep 28, 2017
Christie's
Description
Öyvind Fahlström (1928-1976) _Untitled_ lacquer, gouache, felt-tip pen and masking tape on paper 26 7/8 x 21 5/8 in. (68.3 x 54.9 cm.) Executed in 1958.
Untitled, 1928-1976
lacquer, gouache, felt-tip pen and masking tape on paper
Sep 28, 2017
Christie's
$22,500
Realized price
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Artwork Info
Work on Paper
68.3 x 54.9 cm
Estimate
Auction Sale
Sep 28, 2017
Christie's
Realized Price
$22,500
Description
Öyvind Fahlström (1928-1976) _Untitled_ lacquer, gouache, felt-tip pen and masking tape on paper 26 7/8 x 21 5/8 in. (68.3 x 54.9 cm.) Executed in 1958.
£50,000
Sold on Oct 18, 2014
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Artwork Info
Estimate
Realized Price
£50,000
Auction Sale
Oct 18, 2014
Sotheby's
Description
Oct 18, 2014
Sotheby's
£50,000
Realized price
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Artwork Info
Estimate
Auction Sale
Oct 18, 2014
Sotheby's
Realized Price
£50,000
£80,500
Sold on Oct 18, 2014
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Artwork Info
Estimate
Realized Price
£80,500
Auction Sale
Oct 18, 2014
Sotheby's
Description
Oct 18, 2014
Sotheby's
£80,500
Realized price
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Artwork Info
Estimate
Auction Sale
Oct 18, 2014
Sotheby's
Realized Price
£80,500
No artwork image
£50,000
UNTITLED
Sold on Oct 18, 2014
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Artwork Info
Work on Paper
India ink on many individual sheets of paper collaged to a panel
170.4 by 155.4cm
Estimate
Realized Price
£50,000
Auction Sale
Oct 18, 2014
Sotheby's
Description
India ink on many individual sheets of paper collaged to a panel 170.4 by 155.4cm.; 67 by 61 1/8 in. Executed circa 1956-59.
No artwork image
UNTITLED
India ink on many individual sheets of paper collaged to a panel
Oct 18, 2014
Sotheby's
£50,000
Realized price
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Artwork Info
Work on Paper
170.4 by 155.4cm
Estimate
Auction Sale
Oct 18, 2014
Sotheby's
Realized Price
£50,000
Description
India ink on many individual sheets of paper collaged to a panel 170.4 by 155.4cm.; 67 by 61 1/8 in. Executed circa 1956-59.
No artwork image
£80,500
TIRE LIRE
Sold on Oct 18, 2014
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Artwork Info
Work on Paper
paper collaged on canvas with India ink, tempera, graphite pencil, chalk and enamel
126.5 by 269cm
Estimate
Realized Price
£80,500
Auction Sale
Oct 18, 2014
Sotheby's
Description
signed paper collaged on canvas with India ink, tempera, graphite pencil, chalk and enamel 126.5 by 269cm.; 49 3/4 by 106in. Executed in 1961.
No artwork image
TIRE LIRE
paper collaged on canvas with India ink, tempera, graphite pencil, chalk and enamel
Oct 18, 2014
Sotheby's
£80,500
Realized price
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Artwork Info
Work on Paper
126.5 by 269cm
Estimate
Auction Sale
Oct 18, 2014
Sotheby's
Realized Price
£80,500
Description
signed paper collaged on canvas with India ink, tempera, graphite pencil, chalk and enamel 126.5 by 269cm.; 49 3/4 by 106in. Executed in 1961.
£104,500
EDDIE IN THE DESERT…DOMINOES, 1966
Sold on Oct 17, 2014
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Artwork Info
paintings
177.0 x 147.0 cm
Estimate
Realized Price
£104,500
Auction Sale
Oct 17, 2014
Sotheby's
Description
EDDIE IN THE DESERT…DOMINOES, 1966
paintings
Oct 17, 2014
Sotheby's
£104,500
Realized price
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Artwork Info
177.0 x 147.0 cm
Estimate
Auction Sale
Oct 17, 2014
Sotheby's
Realized Price
£104,500
No artwork image
£206,500
CIA MONOPOLY (LARGE)
Sold on Oct 17, 2014
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Artwork Info
Work on Paper
works on paper
Estimate
Realized Price
£206,500
Auction Sale
Oct 17, 2014
Sotheby's
Description
No artwork image
CIA MONOPOLY (LARGE)
works on paper
Oct 17, 2014
Sotheby's
£206,500
Realized price
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Artwork Info
Work on Paper
Estimate
Auction Sale
Oct 17, 2014
Sotheby's
Realized Price
£206,500
£104,500
Sold on Oct 17, 2014
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Artwork Info
Painting
tempera on vinyl, glued to Plexiglas with magnets
Estimate
Realized Price
£104,500
Auction Sale
Oct 17, 2014
Sotheby's
Description
tempera on vinyl, glued to Plexiglas with magnets
Oct 17, 2014
Sotheby's
£104,500
Realized price
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Artwork Info
Painting
Estimate
Auction Sale
Oct 17, 2014
Sotheby's
Realized Price
£104,500
£206,500
Sold on Oct 17, 2014
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Artwork Info
Painting
acrylic and India ink on metal panel with acrylic and India ink on vinyl elements with magnets and acrylic on magnets
Estimate
Realized Price
£206,500
Auction Sale
Oct 17, 2014
Sotheby's
Description
Ӧyvind Fahlstrӧm (1928-1976) was the most significant Swedish artist of the Pop generation. Simultaneously painter, poet, playwright, composer, film-maker, performance artist and polemicist he was able to analyse and deride the geo-political system with unparalleled prescience. Today, he is an artist most famous and celebrated for his corpus of ‘board game’ works, particularly those that play upon the ubiquitous and classic game of Monopoly: the Twentieth Century’s greatest family-friendly celebration of the capitalist system. These works hold a magisterial position within his production not only for their intricate and bold aesthetic, but also for the power of their message and the clarity of its delivery. The present works, CIA Monopoly (large) (1971) and Eddie and the Desert… Dominoes (1966), other versions of which are held in prestigious museum collections such as the Musée d'Art Moderne, Toulouse, and the Museum of Modern Art, New York, perfectly distil the way in which Fahlstrӧm engages his viewer. These grand works are stand-out examples of the contribution Fahlstrӧm made to the international Pop Art movement, and to the greater political consciousness of high art within a Cold War climate. Born in Brazil, Fahlstrӧm adopted Swedish citizenship during the Second World War, and spent his working life as an artist between New York, Paris and Rome. CIA Monopoly (large) and Eddie in the Desert… Dominoes encapsulate the style Fahlstrӧm adopted after moving from Paris to New York in 1961. They are both presented in a board game format and comprise of cut-out magnets on a stainless steel background; they are colourful, engaging, and articulated in a playful Pop palette. Attuned to the work of Fahlstrӧm’s American counterparts, Eddie in the Desert… Dominoes from 1966, adopts a comic-book aesthetic in its bold graphic depictions of isolated body parts, dramatic faces, and miscellaneous props. It’s magnetic ‘dominoes’ can be read as panels, which the viewer can arrange and manipulate to create any number of narratives across the steel ground. This sense of variability, of leaving the final appearance of the work in the hands of the viewer, is typical of Fahlstrӧm’s playful yet seditious style. By the beginning of the 1970s, Fahlstrӧm had settled upon the archetypal Monopoly board as the main arena for his particular brand of politically-charged Pop. These were works imbued with a mass-produced commercial aesthetic yet instilled with a caustic geo-political edge. As explained by the artist: “My Monopoly game paintings consist of 200-230 painted magnetic elements on a painted metal board. They deal with world trade, world politics, the left and the right in USA, Indochina, and CIA vs. Third World liberation forces. They can all be played, according to the rules written on the paintings, as variants of the classical Monopoly game, which is of course the game of capitalism: a simplified, but precise presentation of the trading of surplus value for capital gains” (Ӧyvind Fahlstrӧm, 1971, quoted in: Exhibition Catalogue, New York, The Solomon R. Guggenheim Museum, Ӧyvind Fahlstrӧm, 1982, p. 82). In CIA Monopoly (large) we see this overt socio-political subject matter reach an apogee. The artist pits the CIA against the Liberation Forces, juxtaposing labels of terrorist groups, such as ‘IRA Ireland’ and ‘ANC S Africa’, within the unmistakable Monopoly board format to draw an uneasy comparison between the frivolity of parlour games, and the player’s assumption of roles of groups and organisations characterised by their propensity for horror, terror, and violence: “The Monopoly paintings… deal with very complex realities – but nevertheless come out as basic game diagrams of these phenomena. That is, by the formulation of the rules, the definition of resources (million dollar coins, or hearts = lives), tactics and other such elements, plus the additional information you get from the sectors of the chance-wheel. Blue colours stand for USA, violet for Europe, red for Russia, yellow for China, orange for North Vietnam, etc., and the Third World goes from brown red, over shades of green, to blue-green (S. Vietnam, S. Korea, etc.)” (Ibid.). Flippantly over-simplified, this subversive work is in keeping with the best of Fahlstrӧm’s oeuvre in the way it deftly engages the viewer in a game based in complex political reality. Fahlstrӧm’s board-games were, in many ways, the product of his early interaction with the burgeoning Pop Art movement. We might observe the commercial palette, the conscious removal of any signs of authorship, and particularly the elevation of seemingly mundane mass-market objects to a high art setting. Vehemently opposed to the ‘fetishism’ that surrounded the authorship of an artwork; Fahlstrӧm wanted his work to be about the object and its message, not the individual who had produced it. Akin to Warhol, he even expressed the desire to produce his works en masse. Just as Rauschenberg collaged photographs, Roy Lichtenstein adapted comic book strips and Warhol silkscreened movie stars and soup-cans, Fahlstrӧm subverted dominoes and Monopoly sets to distil his message and remove the marks of his artistic production. The viewer’s implication as a player in Fahlstrӧm’s games is also redolent of his pioneering engagement in performance art. In devising a set of rules and creating a physical centrepiece (the board game) for their exploration, he created a portable performance whereby the viewer becomes the active participant. Fahlstrӧm was no stranger to performance art, and had become well known for his ‘happenings’ in 1950s Stockholm. However, with these magnetic board games, he advances the process and removes himself from the theatrics entirely. The lack of didacticism hugely enhances the gravity of these immersive and experiential works; it creates an arena, thematised by fraught geo-politics, whereby the viewer enacts an unpredictable win or lose scenario.  By engineering a set of pre-determined outcomes steered by the arbitrary element of chance, Fahlstrӧm imbues his work with the sense of a journey, and allows the viewer to draw their own conclusions from the inevitable denouement of his Monopoly construct. There can be no doubt that Ӧyvind Fahlstrӧm’s board games are the pinnacle of his artistic expression. They are engaging, witty, and innovative and represent a supreme appropriation of the mundane and its transformation into something extraordinary. They are profound: equally powerful as both static two-dimensional displays and interactive experiential works that develop through time. From a Twenty-First Century perspective, their prophetic accuracy is as impactful as their political vitriol, and the fact that Fahlstrӧm’s contributions to the 1960s global zeitgeist should still seem relevant is further tribute to the far-sightedness of his work. As summated by the prominent Swedish critic Olle Granath: “There was something of the prophet about Ӧyvind Fahlstrӧm. His paintings…were like stones splashing down on to the surface of time and one can sit years afterwards watching the ripples still spreading” (Ibid., p. 11).
acrylic and India ink on metal panel with acrylic and India ink on vinyl elements with magnets and acrylic on magnets
Oct 17, 2014
Sotheby's
£206,500
Realized price
Reveal more
Artwork Info
Painting
Estimate
Auction Sale
Oct 17, 2014
Sotheby's
Realized Price
£206,500
Description
Ӧyvind Fahlstrӧm (1928-1976) was the most significant Swedish artist of the Pop generation. Simultaneously painter, poet, playwright, composer, film-maker, performance artist and polemicist he was able to analyse and deride the geo-political system with unparalleled prescience. Today, he is an artist most famous and celebrated for his corpus of ‘board game’ works, particularly those that play upon the ubiquitous and classic game of Monopoly: the Twentieth Century’s greatest family-friendly celebration of the capitalist system. These works hold a magisterial position within his production not only for their intricate and bold aesthetic, but also for the power of their message and the clarity of its delivery. The present works, CIA Monopoly (large) (1971) and Eddie and the Desert… Dominoes (1966), other versions of which are held in prestigious museum collections such as the Musée d'Art Moderne, Toulouse, and the Museum of Modern Art, New York, perfectly distil the way in which Fahlstrӧm engages his viewer. These grand works are stand-out examples of the contribution Fahlstrӧm made to the international Pop Art movement, and to the greater political consciousness of high art within a Cold War climate. Born in Brazil, Fahlstrӧm adopted Swedish citizenship during the Second World War, and spent his working life as an artist between New York, Paris and Rome. CIA Monopoly (large) and Eddie in the Desert… Dominoes encapsulate the style Fahlstrӧm adopted after moving from Paris to New York in 1961. They are both presented in a board game format and comprise of cut-out magnets on a stainless steel background; they are colourful, engaging, and articulated in a playful Pop palette. Attuned to the work of Fahlstrӧm’s American counterparts, Eddie in the Desert… Dominoes from 1966, adopts a comic-book aesthetic in its bold graphic depictions of isolated body parts, dramatic faces, and miscellaneous props. It’s magnetic ‘dominoes’ can be read as panels, which the viewer can arrange and manipulate to create any number of narratives across the steel ground. This sense of variability, of leaving the final appearance of the work in the hands of the viewer, is typical of Fahlstrӧm’s playful yet seditious style. By the beginning of the 1970s, Fahlstrӧm had settled upon the archetypal Monopoly board as the main arena for his particular brand of politically-charged Pop. These were works imbued with a mass-produced commercial aesthetic yet instilled with a caustic geo-political edge. As explained by the artist: “My Monopoly game paintings consist of 200-230 painted magnetic elements on a painted metal board. They deal with world trade, world politics, the left and the right in USA, Indochina, and CIA vs. Third World liberation forces. They can all be played, according to the rules written on the paintings, as variants of the classical Monopoly game, which is of course the game of capitalism: a simplified, but precise presentation of the trading of surplus value for capital gains” (Ӧyvind Fahlstrӧm, 1971, quoted in: Exhibition Catalogue, New York, The Solomon R. Guggenheim Museum, Ӧyvind Fahlstrӧm, 1982, p. 82). In CIA Monopoly (large) we see this overt socio-political subject matter reach an apogee. The artist pits the CIA against the Liberation Forces, juxtaposing labels of terrorist groups, such as ‘IRA Ireland’ and ‘ANC S Africa’, within the unmistakable Monopoly board format to draw an uneasy comparison between the frivolity of parlour games, and the player’s assumption of roles of groups and organisations characterised by their propensity for horror, terror, and violence: “The Monopoly paintings… deal with very complex realities – but nevertheless come out as basic game diagrams of these phenomena. That is, by the formulation of the rules, the definition of resources (million dollar coins, or hearts = lives), tactics and other such elements, plus the additional information you get from the sectors of the chance-wheel. Blue colours stand for USA, violet for Europe, red for Russia, yellow for China, orange for North Vietnam, etc., and the Third World goes from brown red, over shades of green, to blue-green (S. Vietnam, S. Korea, etc.)” (Ibid.). Flippantly over-simplified, this subversive work is in keeping with the best of Fahlstrӧm’s oeuvre in the way it deftly engages the viewer in a game based in complex political reality. Fahlstrӧm’s board-games were, in many ways, the product of his early interaction with the burgeoning Pop Art movement. We might observe the commercial palette, the conscious removal of any signs of authorship, and particularly the elevation of seemingly mundane mass-market objects to a high art setting. Vehemently opposed to the ‘fetishism’ that surrounded the authorship of an artwork; Fahlstrӧm wanted his work to be about the object and its message, not the individual who had produced it. Akin to Warhol, he even expressed the desire to produce his works en masse. Just as Rauschenberg collaged photographs, Roy Lichtenstein adapted comic book strips and Warhol silkscreened movie stars and soup-cans, Fahlstrӧm subverted dominoes and Monopoly sets to distil his message and remove the marks of his artistic production. The viewer’s implication as a player in Fahlstrӧm’s games is also redolent of his pioneering engagement in performance art. In devising a set of rules and creating a physical centrepiece (the board game) for their exploration, he created a portable performance whereby the viewer becomes the active participant. Fahlstrӧm was no stranger to performance art, and had become well known for his ‘happenings’ in 1950s Stockholm. However, with these magnetic board games, he advances the process and removes himself from the theatrics entirely. The lack of didacticism hugely enhances the gravity of these immersive and experiential works; it creates an arena, thematised by fraught geo-politics, whereby the viewer enacts an unpredictable win or lose scenario.  By engineering a set of pre-determined outcomes steered by the arbitrary element of chance, Fahlstrӧm imbues his work with the sense of a journey, and allows the viewer to draw their own conclusions from the inevitable denouement of his Monopoly construct. There can be no doubt that Ӧyvind Fahlstrӧm’s board games are the pinnacle of his artistic expression. They are engaging, witty, and innovative and represent a supreme appropriation of the mundane and its transformation into something extraordinary. They are profound: equally powerful as both static two-dimensional displays and interactive experiential works that develop through time. From a Twenty-First Century perspective, their prophetic accuracy is as impactful as their political vitriol, and the fact that Fahlstrӧm’s contributions to the 1960s global zeitgeist should still seem relevant is further tribute to the far-sightedness of his work. As summated by the prominent Swedish critic Olle Granath: “There was something of the prophet about Ӧyvind Fahlstrӧm. His paintings…were like stones splashing down on to the surface of time and one can sit years afterwards watching the ripples still spreading” (Ibid., p. 11).
€13,750
Komposition, 1961
Sold on Oct 26, 2013
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Artwork Info
Work on Paper
tempera et encre sur papier
30 x 40 cm
Estimate
Realized Price
€13,750
Auction Sale
Oct 26, 2013
Christie's
Description
ÖYVIND FAHLSTRÖM (1928-1976) _Komposition_ signé et daté 'Öyvind Fahlström 2/61' (en bas à droite) tempera et encre sur papier 30 x 40 cm. (11 7/8 x 15¾ in.) Réalisé en 1961.
Komposition, 1961
tempera et encre sur papier
Oct 26, 2013
Christie's
€13,750
Realized price
Reveal more
Artwork Info
Work on Paper
30 x 40 cm
Estimate
Auction Sale
Oct 26, 2013
Christie's
Realized Price
€13,750
Description
ÖYVIND FAHLSTRÖM (1928-1976) _Komposition_ signé et daté 'Öyvind Fahlström 2/61' (en bas à droite) tempera et encre sur papier 30 x 40 cm. (11 7/8 x 15¾ in.) Réalisé en 1961.