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Team building. | 0:01:42 | 0:01:45 | |
The estimate is 100,000. | 0:02:04 | 0:02:07 | |
Any bids proceeding 540,000? | 0:02:57 | 0:02:59 | |
A Japanese shunga painting, signed and dated by Shigemasa, 1873. | 0:04:26 | 0:04:30 | |
The estimate is 25,000. | 0:04:30 | 0:04:33 | |
40,000, 45,000. | 0:04:42 | 0:04:44 | |
It seems that I'm constantly putting my clothes in your way. | 0:05:30 | 0:05:34 | |
Please, have a seat. | 0:05:34 | 0:05:35 | |
Marie Lisowska. | 0:05:40 | 0:05:42 | |
Hans Sperling, from Germany. | 0:05:42 | 0:05:44 | |
I wouldn't have guessed. | 0:05:44 | 0:05:46 | |
-And you are from Poland? -No, absolutely not. | 0:05:46 | 0:05:49 | |
Well, I was married to a Pole, very briefly. | 0:05:49 | 0:05:53 | |
Now, I need a drink. | 0:05:53 | 0:05:55 | |
Oh, it's on me, please. | 0:05:55 | 0:05:57 | |
What would you like to drink? | 0:05:57 | 0:05:59 | |
A glass of white, dry wine, please. | 0:05:59 | 0:06:01 | |
Excuse me. A glass of white, dry wine, please. | 0:06:03 | 0:06:07 | |
-Thank you. -You're welcome. | 0:06:08 | 0:06:10 | |
And you're a collector? | 0:06:10 | 0:06:13 | |
Yes, if my wallet so permits. | 0:06:13 | 0:06:16 | |
I have a couple of shunga paintings. | 0:06:16 | 0:06:18 | |
None is signed, so when I heard this from here... | 0:06:18 | 0:06:23 | |
Oh, you came to Stockholm just to bid on the painting? | 0:06:23 | 0:06:25 | |
Yes. | 0:06:25 | 0:06:27 | |
I'm sorry. | 0:06:27 | 0:06:28 | |
-Well...cheers. -Cheers. | 0:06:36 | 0:06:39 | |
And you collect erotic art, too? | 0:06:45 | 0:06:47 | |
No, I bought it on the behalf of a client. | 0:06:47 | 0:06:50 | |
I am...an art agent. | 0:06:50 | 0:06:53 | |
Uh-huh. | 0:06:53 | 0:06:54 | |
-Was this your first visit at Bukowski's? -Yes. | 0:06:54 | 0:06:57 | |
What did you think? | 0:06:57 | 0:07:00 | |
You obviously have prearranged biddings here, too. | 0:07:00 | 0:07:04 | |
Very observant, I must say. | 0:07:04 | 0:07:07 | |
They're usually very discreet in the ring. | 0:07:07 | 0:07:10 | |
You could feel it in the air. | 0:07:10 | 0:07:12 | |
And you call it "the ring"? | 0:07:14 | 0:07:15 | |
Yes, yes. | 0:07:15 | 0:07:17 | |
We have the same phenomenon in Germany, too. | 0:07:17 | 0:07:20 | |
But why did they let the shunga painting go? | 0:07:21 | 0:07:24 | |
Well, the price went too high, and... | 0:07:24 | 0:07:27 | |
because I was the one who bid on it. | 0:07:27 | 0:07:30 | |
Well, they know I have financial muscle behind me, | 0:07:30 | 0:07:33 | |
and their interest is to keep the bidding low. | 0:07:33 | 0:07:36 | |
And, well, that's what the ring's for. | 0:07:37 | 0:07:39 | |
-Yeah. A rather sordid business. -Mmm. | 0:07:39 | 0:07:41 | |
But difficult to get at. | 0:07:41 | 0:07:43 | |
I know some of them who were there. | 0:07:43 | 0:07:46 | |
None of them would ever admit to what they're doing. | 0:07:46 | 0:07:49 | |
No. | 0:07:49 | 0:07:51 | |
May I ask... | 0:07:53 | 0:07:54 | |
Is it only Japanese shunga paintings you collect? | 0:07:55 | 0:07:58 | |
Everything with an erotic motive. | 0:08:00 | 0:08:03 | |
-Interesting. -Yes, isn't it? | 0:08:03 | 0:08:06 | |
Well, I actually have a customer who had some...etchings that just | 0:08:07 | 0:08:12 | |
-might interest you. -Because of their motive? | 0:08:12 | 0:08:15 | |
Yes. | 0:08:15 | 0:08:17 | |
They're... He was about to sell them just recently, | 0:08:18 | 0:08:21 | |
but something got in the way. | 0:08:21 | 0:08:22 | |
They're of a rather high quality. | 0:08:22 | 0:08:25 | |
A bit of the more...censored kind. | 0:08:25 | 0:08:29 | |
Sounds tempting. | 0:08:29 | 0:08:31 | |
But unfortunately I have to go back tomorrow. | 0:08:31 | 0:08:33 | |
Oh, you know, I'm going | 0:08:33 | 0:08:35 | |
to receive a couple of Chagall lithographs coming here to me | 0:08:35 | 0:08:38 | |
just in a while, for a customer who wants to have a look at them, and... | 0:08:38 | 0:08:42 | |
Well, perhaps I can get the prints here at the same time. | 0:08:42 | 0:08:45 | |
-Yeah, why not? -Yes. | 0:08:45 | 0:08:46 | |
What price level are we talking about? | 0:08:46 | 0:08:49 | |
We can talk about that when you've seen them. | 0:08:49 | 0:08:51 | |
OK. | 0:08:51 | 0:08:53 | |
Shall we have dinner here at, let's say...9 o'clock? | 0:08:53 | 0:08:57 | |
Yes, let's do that. | 0:08:57 | 0:08:59 | |
OK, cheers. | 0:09:00 | 0:09:02 | |
Cheers. | 0:09:02 | 0:09:04 | |
-Goodbye, then. -Goodbye. | 0:09:08 | 0:09:10 | |
Oh, I live in room 119. Just in case anything crops up. | 0:09:10 | 0:09:14 | |
Excuse me, please. | 0:11:44 | 0:11:46 | |
Could you call Marie Lisowska? It's 119, I believe. | 0:11:46 | 0:11:50 | |
Room 119? | 0:11:50 | 0:11:52 | |
Yes, that's right. One moment. | 0:11:52 | 0:11:55 | |
There's no answer. Sorry. | 0:12:03 | 0:12:05 | |
Thank you. | 0:12:07 | 0:12:08 | |
Excuse me, could you please call Marie Lisowska again? | 0:12:48 | 0:12:52 | |
Certainly. | 0:12:52 | 0:12:53 | |
-It's room 119, right? -Right. | 0:12:53 | 0:12:55 | |
Sorry, there's still no answer. | 0:13:02 | 0:13:04 | |
-She hasn't checked out, has she? -No. | 0:13:04 | 0:13:07 | |
-OK. Thank you. -Thank you. | 0:13:07 | 0:13:09 | |
PHONE RINGS | 0:13:24 | 0:13:28 | |
LAUGHTER | 0:14:24 | 0:14:26 | |
The Woman And The Roses. | 0:14:59 | 0:15:01 | |
The Woman And The Roses? | 0:15:41 | 0:15:43 | |
PHONE RINGS | 0:17:13 | 0:17:16 | |
Hello? | 0:17:19 | 0:17:21 | |
Who bought that painting yesterday at the auction? | 0:19:18 | 0:19:21 | |
The man who bought that is part of what they, in Swedish, | 0:19:43 | 0:19:47 | |
-call "a ring". -How do you know that? | 0:19:47 | 0:19:50 | |
Because I was there yesterday and I observed the man, and I think it | 0:19:50 | 0:19:54 | |
would be in your interest as well as in the interest | 0:19:54 | 0:19:57 | |
of your customers if you disclosed that man. | 0:19:57 | 0:20:00 | |
DISTANT SIREN WAILS | 0:21:06 | 0:21:10 | |
PHONE RINGS | 0:23:05 | 0:23:09 | |
MALE VOICES SING: # But come you back when summer's in the meadow | 0:30:08 | 0:30:14 | |
# Or when the valley's hushed and white with snow | 0:30:16 | 0:30:22 | |
# Tis I'll be... # | 0:30:24 | 0:30:26 | |
# Oh Danny Boy, I love you so. # | 0:31:14 | 0:31:22 | |
# Oh Danny boy, | 0:32:29 | 0:32:32 | |
# The pipes, the pipes are calling | 0:32:32 | 0:32:37 | |
# From glen to glen | 0:32:37 | 0:32:40 | |
# And down the mountainside... # | 0:32:40 | 0:32:43 | |
PHONE RECEIVES TEXT | 0:39:42 | 0:39:44 | |
CAMERA CLICKS REPEATEDLY | 0:40:07 | 0:40:10 | |
DOG BARKS | 0:40:50 | 0:40:52 | |
I hope I do not complicate things for you. | 0:41:07 | 0:41:10 | |
Not at all. We're just grateful for your help. | 0:41:10 | 0:41:13 | |
So, I'm not on Gunvald Larsson's list of suspects any longer? | 0:41:13 | 0:41:17 | |
You've never been on that list. | 0:41:17 | 0:41:19 | |
Have you been in contact with Germany? | 0:41:19 | 0:41:21 | |
Yes. | 0:41:21 | 0:41:23 | |
But I haven't mentioned that I'm part of a | 0:41:23 | 0:41:25 | |
Swedish murder investigation. | 0:41:25 | 0:41:27 | |
How come? | 0:41:27 | 0:41:28 | |
Because I'm not quite sure in what way I'm part of it. Are you? | 0:41:28 | 0:41:32 | |
No. | 0:41:32 | 0:41:33 | |
Are you? | 0:41:33 | 0:41:34 | |
No. | 0:41:34 | 0:41:36 | |
Maybe it would be the best if I went home. | 0:41:36 | 0:41:38 | |
No. Not yet. | 0:41:38 | 0:41:40 | |
This investigation concerns areas where your knowledge is far | 0:41:41 | 0:41:45 | |
better than mine. | 0:41:45 | 0:41:46 | |
The world of art is not my speciality. | 0:41:46 | 0:41:48 | |
And what is your speciality? | 0:41:50 | 0:41:52 | |
-Harmony singing. -LAUGHTER | 0:41:52 | 0:41:56 | |
PHONE RINGS | 0:42:55 | 0:42:58 | |
Hello? | 0:56:40 | 0:56:42 | |
HE POURS WINE | 0:57:08 | 0:57:11 | |
Nice to meet you, and welcome to my castle. | 1:02:17 | 1:02:22 | |
You see, normally, my collection is open for the public just | 1:02:22 | 1:02:25 | |
a couple of hours during weekends, but, for you, I make an exception. | 1:02:25 | 1:02:29 | |
But who's he? | 1:02:32 | 1:02:34 | |
He's the one who does the driving. | 1:02:34 | 1:02:36 | |
He's Swedish. | 1:02:36 | 1:02:37 | |
I see. I see. | 1:02:37 | 1:02:39 | |
Well, just a few principle rules. | 1:02:39 | 1:02:42 | |
Cellphones are normally not allowed in the castle, it's a | 1:02:42 | 1:02:45 | |
policy I have. And, um... | 1:02:45 | 1:02:49 | |
I have a metal detector in the doorframe, hmm? | 1:02:49 | 1:02:52 | |
Because the other year there was a madman slashing | 1:02:54 | 1:02:57 | |
one of my Matisse paintings into pieces with a large knife. | 1:02:57 | 1:03:02 | |
It's most stimulating to meet a genuine connoisseur, | 1:03:17 | 1:03:23 | |
doesn't happen every day, you know. | 1:03:23 | 1:03:25 | |
Most of the people are coming here for the erotic collection | 1:03:25 | 1:03:27 | |
out of more pornographic pretexts, I fancy. | 1:03:27 | 1:03:32 | |
Yes, probably. | 1:03:32 | 1:03:34 | |
I've taken a fancy to the shunga paintings, | 1:03:34 | 1:03:36 | |
and I've heard you have a couple of them. | 1:03:36 | 1:03:39 | |
Oh, yes. Yes, yes. But none of them is signed, though. | 1:03:39 | 1:03:44 | |
You don't get them very often. | 1:03:44 | 1:03:47 | |
-I saw one quite recently. -Oh, you mean the one at Bukowski's? | 1:03:47 | 1:03:51 | |
That is the reason why I am here in Sweden. | 1:03:52 | 1:03:56 | |
Oh, so you bid for it. | 1:03:56 | 1:03:57 | |
Yes. | 1:03:57 | 1:03:59 | |
But it was some other collector who got it. | 1:03:59 | 1:04:02 | |
Uh-huh. What did it go for? | 1:04:02 | 1:04:04 | |
55,000. | 1:04:04 | 1:04:06 | |
Oh, that's a reasonable price. | 1:04:06 | 1:04:10 | |
Hmm. For the seller or the buyer? | 1:04:10 | 1:04:12 | |
For both, I hope. | 1:04:12 | 1:04:15 | |
But it had a tragic end, though. | 1:04:15 | 1:04:17 | |
What do you mean? | 1:04:19 | 1:04:21 | |
The woman who purchased the shunga, she was an art agent. | 1:04:21 | 1:04:24 | |
And she was murdered that very same evening. | 1:04:25 | 1:04:28 | |
She was sitting right beside me at the auction. | 1:04:29 | 1:04:33 | |
No, that is terrible. | 1:04:33 | 1:04:35 | |
Do you think it's in connection with her purchase...? | 1:04:38 | 1:04:40 | |
No, no, no, no, no. The shunga? No, why should that be? | 1:04:40 | 1:04:44 | |
No. | 1:04:44 | 1:04:45 | |
But you don't know on whose behalf she bought it? | 1:04:47 | 1:04:51 | |
Well, I can't say I know. | 1:04:51 | 1:04:53 | |
But you have an idea. | 1:04:53 | 1:04:55 | |
Yes. | 1:04:55 | 1:04:57 | |
Jovan Andrecz. | 1:04:58 | 1:05:00 | |
There are some sensual motives here, hmm? | 1:08:07 | 1:08:11 | |
There really are. | 1:08:11 | 1:08:12 | |
And quite some money invested. | 1:08:13 | 1:08:16 | |
I can see that. | 1:08:16 | 1:08:18 | |
My body shouldn't really be exposed to this kind of visual orgasm. | 1:09:03 | 1:09:08 | |
May I invite you to stay for supper? | 1:09:09 | 1:09:13 | |
It sounds tempting. | 1:09:13 | 1:09:15 | |
But I have to consult my chauffeur whether we shall... | 1:09:15 | 1:09:18 | |
He will naturally get an excellent meal, | 1:09:18 | 1:09:21 | |
together with the rest of the staff. | 1:09:21 | 1:09:23 | |
We have an invitation for dinner. | 1:09:25 | 1:09:27 | |
Very good. | 1:09:27 | 1:09:28 | |
Right. | 1:09:31 | 1:09:32 | |
Martin. | 1:09:32 | 1:09:33 | |
All my dead wines. | 1:11:05 | 1:11:08 | |
It's my little speciality. | 1:11:09 | 1:11:13 | |
Wines that are over-aged | 1:11:14 | 1:11:18 | |
and gone dead. | 1:11:18 | 1:11:20 | |
Very exclusive, | 1:11:20 | 1:11:23 | |
very expensive wines. | 1:11:23 | 1:11:26 | |
I'm very aware that my taste for dead wines is shared only by | 1:11:37 | 1:11:41 | |
a very few people in the world. | 1:11:41 | 1:11:44 | |
I'm one of them. | 1:11:44 | 1:11:45 | |
A touch of cold shark fin. | 1:11:57 | 1:12:00 | |
A drop of old vinegar. | 1:12:00 | 1:12:03 | |
Very nice. | 1:12:03 | 1:12:04 | |
-Oh! -Oh, oh, oh, oh! | 1:12:11 | 1:12:13 | |
Oh, I'm so sorry. | 1:12:13 | 1:12:15 | |
It's so unusual that I...I meet someone who... | 1:12:16 | 1:12:20 | |
I am unusual. | 1:12:20 | 1:12:22 | |
Yes. | 1:12:24 | 1:12:26 | |
Yes, you really are. | 1:12:26 | 1:12:28 | |
The kidney's marinated in Barola and then baked in the oven, | 1:13:17 | 1:13:21 | |
wrapped in a garlic crust. | 1:13:21 | 1:13:23 | |
Excuse me for a second. | 1:13:44 | 1:13:47 | |
It will just take a short while. | 1:13:47 | 1:13:49 | |
Enjoy yourself during the meantime. | 1:13:49 | 1:13:52 | |
SIRENS WAIL | 1:13:55 | 1:13:59 | |
BECK RECEIVES A TEXT MESSAGE | 1:14:02 | 1:14:04 | |
GUNVALD CRIES OUT IN PAIN | 1:16:39 | 1:16:41 | |
You have to excuse me for this interruption, but you see, | 1:17:10 | 1:17:14 | |
as an art dealer for the whole world, I have to be available | 1:17:14 | 1:17:19 | |
at all times. | 1:17:19 | 1:17:20 | |
Hans... | 1:17:21 | 1:17:22 | |
..I must ask you a question. | 1:17:24 | 1:17:28 | |
Do you have any phobias? | 1:17:28 | 1:17:29 | |
On the erotic plane? | 1:17:31 | 1:17:33 | |
Oh, no. Generally speaking. | 1:17:33 | 1:17:35 | |
Phobias. | 1:17:36 | 1:17:38 | |
No, I can't say I have. | 1:17:39 | 1:17:41 | |
Why? | 1:17:41 | 1:17:43 | |
Have you? | 1:17:43 | 1:17:44 | |
Yes. | 1:17:44 | 1:17:47 | |
One. | 1:17:47 | 1:17:48 | |
And what is it? | 1:17:51 | 1:17:52 | |
That somebody I've taken a liking to, | 1:17:53 | 1:17:56 | |
who I thought was a refined person... | 1:17:56 | 1:18:00 | |
..suddenly turns out to be someone completely different. | 1:18:01 | 1:18:05 | |
Hmm. A split personality. | 1:18:08 | 1:18:10 | |
Or... | 1:18:10 | 1:18:12 | |
A simple personality... | 1:18:12 | 1:18:15 | |
..who tries to play a game he doesn't master at all. | 1:18:16 | 1:18:20 | |
Sounds like a very unpleasant phobia. | 1:18:20 | 1:18:22 | |
It is. | 1:18:24 | 1:18:26 | |
Would you like to see a tipple of art history before the main course? | 1:18:27 | 1:18:32 | |
It is... | 1:18:32 | 1:18:34 | |
What shall I call it? | 1:18:34 | 1:18:36 | |
A biological still life. | 1:18:36 | 1:18:40 | |
PIPE CREAKS | 1:18:51 | 1:18:53 | |
Nor In This Case... | 1:19:24 | 1:19:27 | |
Goya. The Civil War. | 1:19:27 | 1:19:29 | |
One of his most powerful etchings. Don't you think it's formidable? | 1:19:31 | 1:19:37 | |
Well, it's not... It's not an erotic motive, but... | 1:19:39 | 1:19:42 | |
..for us who like dead, dead wines, | 1:19:44 | 1:19:49 | |
a morbid motive has its own special fascination, | 1:19:49 | 1:19:53 | |
don't you think so? Hmm? | 1:19:53 | 1:19:56 | |
Well, how do you want to be displayed? | 1:19:57 | 1:20:01 | |
Hmm? | 1:20:01 | 1:20:03 | |
The sheer volume of your body makes... | 1:20:03 | 1:20:06 | |
It's most inspiring. | 1:20:06 | 1:20:08 | |
Rembrandt, perhaps. | 1:20:09 | 1:20:11 | |
Do you know that he painted a little bit behind the scenes? | 1:20:14 | 1:20:18 | |
Some erotic motives. | 1:20:18 | 1:20:21 | |
Or, well..some nudes. | 1:20:21 | 1:20:24 | |
Including... | 1:20:25 | 1:20:27 | |
a little oil painting with a young woman... | 1:20:27 | 1:20:32 | |
cutting up the belly... | 1:20:32 | 1:20:35 | |
on a fat... | 1:20:35 | 1:20:38 | |
pregnant... | 1:20:38 | 1:20:40 | |
sow. | 1:20:40 | 1:20:42 | |
LEVENDAHL CHUCKLES | 1:20:43 | 1:20:46 | |
Well, one could... | 1:20:46 | 1:20:48 | |
One could replace the woman... | 1:20:48 | 1:20:51 | |
..with a naked chauffeur. | 1:20:53 | 1:20:55 | |
Oh, talking of which, | 1:20:57 | 1:20:59 | |
your...chauffeur... | 1:20:59 | 1:21:02 | |
asked one of my guards... | 1:21:02 | 1:21:05 | |
..to give you this. | 1:21:06 | 1:21:07 | |
Well, I had to silence Marie | 1:21:32 | 1:21:35 | |
because she was very close to discovering what | 1:21:35 | 1:21:38 | |
Sun and I were doing. | 1:21:38 | 1:21:40 | |
But she was a beautiful woman... | 1:21:41 | 1:21:44 | |
with high morals... | 1:21:44 | 1:21:46 | |
..that I held in high esteem, | 1:21:47 | 1:21:50 | |
as long as it didn't intervene with my interests. | 1:21:50 | 1:21:54 | |
But it suddenly did... DOG BARKS | 1:21:55 | 1:21:59 | |
But she got to be one of the Chagall lithographs | 1:21:59 | 1:22:03 | |
she loved the most, | 1:22:03 | 1:22:05 | |
but I made a biological still life | 1:22:05 | 1:22:07 | |
with one of her favourite paintings. | 1:22:07 | 1:22:11 | |
The Woman And The Roses. | 1:22:11 | 1:22:14 | |
That's my way of showing her my respect. | 1:22:16 | 1:22:19 | |
This way, please. | 1:22:19 | 1:22:20 | |
And what about Sun? | 1:22:47 | 1:22:49 | |
Oh, Sun. | 1:22:50 | 1:22:52 | |
He was a loyal friend. | 1:22:52 | 1:22:54 | |
And a brilliant printer. | 1:22:55 | 1:22:58 | |
But he wasn't prepared to commit murder to protect our treasure. | 1:22:58 | 1:23:03 | |
And when he heard what happened to Marie, | 1:23:04 | 1:23:08 | |
he threatened to crush and smash the stones. | 1:23:08 | 1:23:13 | |
And you, better than anyone else, | 1:23:14 | 1:23:17 | |
would know what that meant. | 1:23:17 | 1:23:19 | |
It's cultural treasure. | 1:23:19 | 1:23:22 | |
So, I had to take care of Sun, too. DOG BARKS | 1:23:35 | 1:23:40 | |
And, as a genuine lover | 1:23:40 | 1:23:43 | |
of all Japanese erotic art, | 1:23:43 | 1:23:48 | |
he got his biological tribute, together with his two printers. | 1:23:48 | 1:23:52 | |
Shigemasa's shunga painting. | 1:23:53 | 1:23:56 | |
What a pity... | 1:24:12 | 1:24:14 | |
GUNSHOT | 1:24:18 | 1:24:20 | |
MALE VOICES HUM DANNY BOY | 1:24:32 | 1:24:36 | |
# Oh Danny boy, | 1:25:39 | 1:25:43 | |
# The pipes, the pipes are calling | 1:25:43 | 1:25:48 | |
# From glen to glen | 1:25:48 | 1:25:51 | |
# And down the mountainside | 1:25:51 | 1:25:54 | |
# The summer's gone | 1:25:56 | 1:25:59 | |
# And all the flowers are dying | 1:25:59 | 1:26:04 | |
# Tis you, tis you | 1:26:04 | 1:26:07 | |
# Must go and I must bide | 1:26:07 | 1:26:13 | |
# But come you back | 1:26:13 | 1:26:16 | |
# When summer's in the meadow... # | 1:26:16 | 1:26:21 |