THE STAGING OF NYNÄS CASTLE From Private Home to Museum

Ellionore Schachnow

Department of Culture and Aesthetics, Stockholm University Spring 2020 ABSTRACT

Department: The Department of Culture and Aesthetics

Address: 106 91 Stockholm, Sweden

Supervisor: Sabrina Norlander Eliasson

Title and Subtitle: The Staging of Nynäs Castle - From Private Home to Museum

Author: Ellionore Schachnow

Author’s Contact Information: Midskeppsgatan 1, 120 66, Stockholm, [email protected], 0722502894

Essay Level: Master’s Thesis

Ventilation Semester: Spring 2020

The thesis examines the reason behind the overtaking of Nynäs castle by the State Art Museums and how Nationalmuseum choose to stage the period rooms during 1984-2020 and how it relates to contemporary trends within museology. Furthermore, the thesis examines possible similarities in how the National Trust stages their historic houses. The thesis emanates from Emma Barker’s art historical approach to critical studies of the historic buildings owned by the Trust and discusses the possibilities and limitations of the historic house museums in the context of house museology. This thesis also discusses the differences between an ethnographic and an art museum in a historic house context and the function of the period room. The State Art Museum managed to receive funds for the acquisition of Nynäs collections through private donations and funds from the State. The original intention was to stage the interior rooms as it was found, and this approach partly resembles the staging of a house owned by the National Trust. This approach was questioned by Nationalmuseum during 2008 and they initiated a project of re-arranging the rooms which resulted in a chronological display. The display of the kitchen and service areas since the opening can relate to a rising interest in New Museology.

Keywords: Nationalmuseum, Historic House Museum, Nynäs, House Museology, Historic House, National Trust

Contents

Introduction ...... 1 Aims and Research Questions ...... 1 Literature Review / Source Criticism ...... 1 Material ...... 3 Theory & Methodology ...... 3 Delimitations ...... 4 The Manor of Nynäs: Historical Layers ...... 5 The Early History of Nynäs - A Medieval Seat Farm ...... 5 The 17th-Century Manor House is Constructed ...... 5 David Henrik Hildebrandt buys Nynäs - The Late Gustavian Nynäs ...... 7 The Last Private Owners of Nynäs ...... 7 From Private Home to Museum ...... 9 Plans for a Research Centre of Manor Culture at Nynäs Castle – Gaining Support from the Cultural Institutions ...... 10 Donations and funds ...... 11 Acquiring Carl Göran Bonde’s Library ...... 12 Staging the Period Rooms 1984-2020 ...... 14 National Trust - Heritage and Country Houses ...... 14 Art History and Ethnography - Different Intentions ...... 15 Dual Values of the Period Room ...... 17 Original Intentions ...... 19 Re-Arranging the Period Rooms ...... 21 The Big Dining Room and the Bedchamber of the Excellency ...... 22 The Blue Bedchamber, the Gallery, the Green and Red Atrium ...... 26 The Victorian Hunting Salon ...... 31 Gripenstedts Writing Room ...... 34 The Nursery ...... 36 Kitchen and Service Areas ...... 39 Conclusion ...... 43 Acknowledgments ...... 45 Bibliography ...... 46 Literature ...... 46 Unpublished Sources ...... 47 Archive Material ...... 48 Internet Sources ...... 48 List of Illustrations ...... 50 Appendix ...... 51 Interview Questions ...... 53

Introduction

Aims and Research Questions

The aim of the thesis is to examine the procedures of the takeover of Nynäs castle by Nationalmuseum. Furthermore, the aim is to examine how Nationalmuseum stages the period rooms from 1984-2020 and how it relates to contemporary trends within museology. The aim is also to outline the relationship between the representation of the historic houses owned by the National Trust with the staging of Nynäs castle.

• What were the reason for buying Nynäs castle and what were the procedures of the takeover? • How did Nationalmuseum stage the period rooms in Nynäs castle 1984-2020? • Are there similarities between the staging of Nynäs castle by Nationalmuseum and the staging of the historic houses owned by the National Trust in England?

Literature Review / Source Criticism

Nynäs is a property that comprises the manor house, usually referred as Nynäs castle, and the surrounding land with several appurtenant buildings. There are only a few sources about the early history of Nynäs and they are usually focused on the architectural changes of the manor building instead of the changes in the interiors that would be more relevant to this thesis. Although, these sources constitute the basis for the historical background outlined in this thesis. The early history of Nynäs castle and its former owners are mentioned in Svenska slott och herresäten vid 1900-talets början Södermanland (1908).1 Moreover, Claes Ellehag describes the early history of Nynäs castle in Nynäs - ett 1600-talsslott från Erik och Konrad Gyllenstiernas tid (1985) with a focus on the history of the main building and the historical function of the rooms. Ellehag bases the research on archive material such as inventories, letters and maps regarding the early history of the estate.2 Additionally, Ellehag’s dissertation Fem svenska stormanshem under 1600-talet (1994) outlines the architectural alterations of the estate in a historical context.3

There are a few publications about Nynäs castle in connection to the takeover made by Nationalmuseum and the State Art Museums. In the article Nynäs i Bälinge, en kulturskatt för

1 Roosval, Albin (red.), Svenska slott och herresäten vid 1900-talets början Södermanland, [Lundquist], Stockholm, 1908. 2 Ellehag, Claes, Nynäs - ett 1600-talsslott från Erik och Konrad Gyllenstiernas tid, Södermanlands Museum, Nyköping, 1985. 3 Ellehag, Claes, Fem svenska stormanshem under 1600-talet, Nordiska museet, Diss. Stockholm: Univ, Stockholm, 1994. 1 forskningen (1985) Lars Sjöberg argues for the relevance and importance of Nynäs for research within several fields. Furthermore, Sjöberg explains the process and how Nynäs with its interiors was acquired by the State Art Museums.4 The author addresses key events in the process of the takeover which is relevant for the chapter about the subject demonstrated in this thesis. Moreover, the text also partly addresses the main interior features of the period rooms that were opened to the public which is relevant for the thesis. The first published guidebook Nynäs: en vägledning genom herrgårdsbyggnaden (1986) by Solfrid Söderlind were written in connection to the opening of Nynäs. In this thesis, the guidebook functions both as a source for the history of the estate as well as a source that in detail describes the interiors of the rooms and thereby shows how Nynäs was originally staged by Nationalmuseum.5 There is a later publication by Nationalmuseum, Rearranging Nynäs Castle (2009), that were written by Helena Kåberg in connection to the reconstruction of the second floor and the opening of the third floor. The entry has a critical approach towards the previous staging and this short entry is used in the chapter about the staging of the rooms and as a compliment to interviews of the curator in order to discuss the reasons behind the staging and the rearrangements.6

Nynäs – godset (2003) by Ingegerd Wachtmeister is published by Sörmlands museum and concerns the wider area surrounding Nynäs with a larger focus on the life of the workers in a social context rather than on the gentry culture of the castle. This provides a different perspective from the other publications about Nynäs and the book tells the stories of the people that worked in the castle which is connected to the staging of the service areas and this provides a wider historical context for the thesis.7

There are some prominent authors within research about country houses and the challenges and possibilities of staging the historic buildings owned by the National Trust. Howard Newby’s book The National Trust: The Next Hundred Years8 is a collection of essays treating the subject, one of them is David Cannadine’s essay The First Hundred Years that outlines the early history of the Trust which is used in this thesis. Howard Newby’s book was published by the National Trust in order to celebrate its centenary. People that research historic house museums or country houses are often historians, conservators, sociologists, archaeologists or building antiquarians. Emma Barkers essay Heritage and the Country House in Contemporary Cultures of Display (1999)9 offers a critical approach to the houses owned by the Trust and provides an art historical perspective to the matter. Linda Young is specified within cultural

4 Sjöberg, Lars, Nynäs i Bälinge, en kulturskatt för forskningen, NM Bulletin, vol 9 nr 5, 1985. 5 Söderlind, Solfrid, Nynäs: en vägledning genom herrgårdsbyggnaden, Statens konstmuseer, Stockholm, 1986. 6 Kåberg, Helena, Rearranging Nynäs Castle, NM Bulletin 15, 2008. 7 Wachtmeister, Ingegerd, Nynäs - godset, [2., bearb. uppl.], Sörmlands museums förl, Nyköping, 2003. 8 Newby, Howard (ed.), The National Trust: the next hundred years, National Trust, London, 1995. 9 Barker, Emma (ed.), Contemporary cultures of display, Yale Univ. Press in association with the Open Univ., New Haven, 1999. 2 heritage and museum studies and has written Historic house museums in the United States and the United Kingdom: a history.10

Material

The first part of the thesis is an account of the historical layers of Nynäs which is mainly based on secondary sources about the subject. This is followed by a descriptive part about the procedures leading up to and the overtaking of Nynäs by the State Art Museum which will be based on primary sources from Nationalmuseums archive.11 Interviews is conducted with Lars Sjöberg due to his involvement with the overtaking and the initial staging and with Helena Kåberg because she worked with a project of re-arranging the castle and with Micael Ernstell who is currently responsible for the collections in Nynäs. Moreover, interviews, secondary sources and material stored in Nynäs is the material for examining the staging of the period rooms. Images of the interiors from different periods in Nationalmuseum’s image archive will be compared with each other. Another important material when examining the staging of the rooms is the few secondary sources on the subject, such as a guidebook. Moreover, relevant literature is used for describing contemporary trends within museology and for the discussion about the period houses owned by the National Trust.

Theory & Methodology

The idea behind the subject of this thesis emanates from Emma Barkers essay Heritage and the Country House. Through a series of case studies, Barker addresses British heritage and examines contemporary attitudes and the cult of the country house. Furthermore, Barker discusses issues related to conservation, preservation and displaying art. Central for the discourse around country houses and manor estates has been the large number of country houses owned by the National trust in England, Wales and Ireland. The country houses owned by the trust have been scrutinized in the press and accused of having imposed a standardized appearance and thereby eliminating the signs of life in the houses. Furthermore, the trust has been criticized for identifying with the elitist’s interests.12 In this thesis the staging of the Historic Houses owned by the Trust are put in relation to the staging of the rooms in Nynäs and Barker’s essay are used throughout this thesis. Many of the researchers that are concerned with the staging of historic house museums and country houses does not have the Art Historical perspective. This thesis is based around the concept of house museology which is a specialized genre within museum studies. In the text ‘House Museology: Houses as museums

10 Young, Linda, Historic house museums in the United States and the United Kingdom: a history, Rowman & Littlefield, Lanham, MD, 2017. 11 Nationalmuseum’s archive, Överintendentens korrespondens rörande Nynäs, E2k-18. 12 Barker, Emma. “Heritage and the Country House”, pp 200-228, Contemporary cultures of display, Yale Univ. Press in association with the Open Univ, New Haven, 1999. 3 in the age of heritage’ Linda Young argues that “historic houses form a particular but diverse genre of musealized phenomenon, expressed in several distinctive species of museum, generating a characteristic museology.”13

The examination of the overtaking of Nynäs castle is based on primary sources in Nationalmuseum’s archive with a focus on the correspondence of the superintendent. This chapter is also based on interviews with the former curator of the castle collections at the State Art Museums. Secondary sources are used for outlining the history of Nynäs castle. The chapter about the staging of the period rooms are based on secondary sources such as guidebooks. Moreover, this part is based on interviews with the curators that were present during the overtaking and during the interior reconstruction as well as relevant images of the interiors. Secondary sources are used for the chapter about the historic houses owned by the National Trust. Another important method is the visits to Nynäs which provides photographs and the archive material that exists in the castle.

Delimitations

There is a limited amount of research and published sources about the interior of Nynäs castle after it was opened as a museum. Consequently, a major part of the thesis is based on interviews with the responsible curators and the lack of written sources is limiting. The time and scale of the thesis is limiting and due to that this thesis is focused around staging and the interiors since 1985, the historical background has been less extensively examined.

13 ‘House Museology: Houses as museums in the age of heritage’ Paper given at the conference of Demeures Historiques (ICOM), in Valletta, Malta, 2006. 4

The Manor of Nynäs: Historical Layers

The Early History of Nynäs - A Medieval Seat Farm

Nynäs is situated in Södermanland County on an isthmus between Trubbofjärden and Runbosjön. Nynäs was a seat farm during the medieval times and is mentioned for the first time 1328 in a letter signed by Birgitta Jonsdotter of the House of Folkung, widow at “Nyanes” after her husband the knight Peder Ragnvaldsson. During this period Nynäs was already a farm of a substantial size. The only remaining part of the medieval Nynäs can be found underneath the current main building where parts of an old ground to a building that derives from around 1500 is visible. The old building were probably two or three floors and was a so called “fast hus” which served as a residence for a family but also as a fortification in case of an attack. The Grip family that owned Nynäs during 1384-1522 conducted several renovations and improvements.

Nynäs and the neighbouring estate Björksund was included in Sundboholmskomplexet which was a huge domain that encompassed the current Bälinge and Tystberga parish. Nils Bosson Grip were murdered by his own farmers in a village in Vingåker 1522 and Sundboholmskomplexet were devided between his two daughters Kerstin Nilsdotter Grip who inherited Björksundsegendomen whereas Marina Nilsdotter Grip inherited the Nynäs part.14 Marina Nilssdotter Grip married Karl Eriksson Gyllenstierna (d. 1541) during 1522 which was the start of the Gyllenstierna era on Nynäs.15

The 17th-Century Manor House is Constructed

The current main building was initiated around the middle of the 17th-century by baron Erik Karlsson Gyllenstierna (1602-1657) who inherited Nynäs during 1621. Erik Karlsson Gyllenstierna studied in several foreign Universities such as Helmstedt, Leiden and Oxford during his early years and the architecture he experienced during his travels may have been an inspiration for the reconstruction of his family owned estates such as Nynäs and Pinntorp.16 Erik Karlsson Gyllenstierna was a member of the Council of the Realm and a governor

14 Det medeltida Nynäs- En befäst gård. https://www.nynasslott.se/Nyn%C3%A4s-slott/historien/fr%C3%A5n- medeltid-till-framtid/det-medeltida-nyn%C3%A4s, Retrieved 2020-04-25. 15 Ellehag, Claes, Nynäs - ett 1600-talsslott från Erik och Konrad Gyllenstiernas tid, Södermanlands Museum, Nyköping, 1985. 16 Pinntorp were later called Ericsberg. During 1636 Erik Gyllenstierna married Beata von Yxkull (1618-1667) who is more famous as “pinntorpafrun”. 5 general over Ingemanland, Kexholms County and Narva and was the owner of several properties in Sweden but Nynäs was his main residence.17

The oldest depiction of Nynäs castle is made by Erik Dahlberg in a drawing from 1665 that were made as a model for Svecia Antiqua Et Hodierna. The steep pitched roof is often associated with late medieval or renaissance architecture in northern Europe and the style of the castle is reminiscent of periods before the middle of the 17th-century when it was built. Also, the south part of the building was not yet constructed when the drawing was made, creating an asymmetric shape.

Figure 1. “SLM X13-87 - Copperplate by Erik Dahlberg 1663,” © Sörmlands Museum.

Erik Karlsson Gyllenstierna’s son Konrad Gyllenstierna inherited Nynäs when he was 12 years old after his father’s death 1657 and finished the construction of Nynäs castle during 1670 and the early 1680s.18 Konrad Gyllenstierna married the countess Eva Lewenhaupt (1657-1729) during 1675 and the marriage to the wealthy Lewenhaupt family provided capital to resume and complete the constructions of Nynäs. There is little preserved material in the archive regarding the constructions during this period. Although, there is a drawing of Nynäs from Konrad Gyllenstiernas period as owner of the estate which in comparison to Erik Dahlbergs picture looks more modern with three spires on the roof and the building which is symmetric and in full length.19

17 Ellehag, Claes, Fem svenska stormanshem under 1600-talet, Nordiska museet, Diss. Stockholm: Univ. Stockholm, 1994, PP 68-78. 18 Söderlind, Solfrid, Nynäs: en vägledning genom herrgårdsbyggnaden, Statens konstmuseer, Stockholm, 1986. 19 1600-talets Nynäs - från Fast Hus till Barockpalats.https://www.nynasslott.se/Nyn%C3%A4s- slott/historien/fr%C3%A5n-medeltid-till-framtid/1600-talets-nyn%C3%A4s. Hämtad 2020-04-25. 6

David Henrik Hildebrandt buys Nynäs - The Late Gustavian Nynäs

Ewa Lewenhaupt bequeathed Nynäs to her daughter Beata Gyllenstierna the younger who subsequently bestowed the estate to her nephew Claes Gustaf Rålamb 1745 who sold Nynäs to the wealthy cavalry captain and ironmaster David Henrik Hildebrand (1712-1791). When David Henrik Hildebrand bought Nynäs in 1769 the estate suffered from neglected maintenance and the main building was not fully furnished. Hildebrand re-constructed and modernized the interior and exterior of the estate. Consequently, the façade became more symmetrical and the structure of the roof became a mansard roof as seen in a drawing made by the architect Erik Palmstedt about 1780. Several economy buildings were erected during 1780-1790 and David Henrik Hildebrand initiated the project of blasting away stone material in order to level the ground near the castle which would precede for 44 years.20

The previously baroque castle was transformed and characterized by the late Gustavian style. Wooden floors, panels and doors were replaced, and tiled stoves were added and a substantial part of the fixed interior that still exists today was initiated by Hildebrand during the 1780s. The walls were painted in fields typical for the time and door covers were painted. The baroque interior was largely replaced with Gustavian furniture’s and textiles. Even though the constructions were not completed at the time of David Henrik Hildebrand’s death in 1791, the reconstruction of the interiors of the estate were completed by his widow Agneta Schönström (1734 - 1796) and his son during the early 19th-century.21

The Last Private Owners of Nynäs

Carl Carlsson Bonde becomes the owner of the estate through a will during 1808 which were exchanged to his father Carl Göran Bonde in 1812. He collected books throughout his life which resulted in a library, situated in the southwest part of the top floor that is mentioned for the first time in an inventory written after his death. Subsequently, the estate is inherited and bequeathed to JA Ankarsvärd in 1840 which were then bestowed to his son-in-law Johan August Gripenstedt 1856. During the 1860s Ewa Anckarswärd and Johan August Gripenstedt re-constructed Nynäs castle but the last big reconstruction of the castle was made by their son Carl Gripenstedt (1853-1935). 22 Because of a difficult financial situation and the threat of bankruptcy, Nynäs was bequeathed to Carl Gripenstedts brother Baron Johan Theodor Gripenstedt (1851 - 1918) during 1910. Johan Theodor Gripenstedt removed parts of the exterior of the main building, such as a small clock tower that were situated on the middle of the pediment towards the park. After Johan Theodor Gripensteds death Nynäs was governed

20 1700-talets Nynäs. https://www.nynasslott.se/Nyn%C3%A4s-slott/historien/fr%C3%A5n-medeltid-till- framtid/1700-talets-nyn%C3%A4s. Retrieved 2020-04-27. 21 Söderlind, Solfrid, Nynäs: en vägledning genom herrgårdsbyggnaden, Statens konstmuseer, Stockholm, 1986 and Sjöberg, Lars, Det gustavianska Nynäs, [Bonnier Alba], [Stockholm], 1995. 22 Söderlind, Solfrid, Nynäs: en vägledning genom herrgårdsbyggnaden, Statens konstmuseer, Stockholm, 1986. 7 by his widow Ebba Gripenstedt (1854-1927). Johan and Ebba’s only child had died at only six years old.

Subsequently, Nynäs were left to Alfred Gripenstedt (1895–1969) who only modernized the service eras on the ground floor to the north where he created a three-room apartment to be used by himself with access to a modern kitchen and two additional guest rooms. The remaining parts of the estate were basically left as it were when his parents and uncle lived there which means that modernity’s such as central heating and running water is lacking in the main part of the castle. On the other hand, this provides an opportunity to look at a living environment that has largely remained unchanged since the early 20th-century.

Nynäs suffered by changes in the running of manor estates. The end of the contract worker system during 1945 resulted in a reduction of the number of employs on Nynäs and there was an increased mechanization of agriculture. The park was reduced and simplified to demand less maintenance and beef cattle were prioritized before grain and dairy. During the end of 1950 the large fruit and vegetable garden had to be closed and trees were removed in order to prepare space for pasture for cows. The deteriorating financial conditions would eventually lead to a sale.

8

From Private Home to Museum

Alfred Gripenstedt (1895–1969) sold a large part of Nynäs 1967 to the County Council of Södermanland, except for the castle and its surrounding park. After Alfred Gripenstedts death two years after the sale, the remaining parts of the estate were bequeathed to his nephew Johan Gripenstedt (1922-2009) with his wife Catharina who mainly used the estate during the summers. This was followed by a period when only a few modernizations were carried out such as the added electric heating in two of the bedrooms and the renovation of the upstairs bathroom.23

The County Council of Södermanland wanted to acquire the remaining 100 acres including the main building, conservatory, garden, workmen’s dwellings, forger, distillery and several other adjacent buildings while Södermanlands Museum in Nyköping expressed an interest for specific objects. For the Gripenstedt family, the County Council’s wish to acquire the estate was a natural solution to solve the escalating economic difficulties due to the lost agricultural incomes that would provide for the care and maintenance of the large estate and surroundings. To secure the future of an old environment in an honourable way and to secure a full economic warranty were key to the family’s position.

The State Art Museums came into the picture during 1982 when discussions about the acquisition arose again. The County Council of Södermanland and Södermanlands Museum lacked financial aids to acquire the substantive amount of inventory objects and initially, the idea was to preserve only the state apartments, but it became apparent for the State Art Museums that Nynäs should be preserved in its entirety. Simple utensils, furniture’s, textiles and ornaments provided a context and historical reality which would otherwise have been lost. Furthermore, the ownership of Nynäs was determined through inheritance since the 14th- century apart from when Hildebrand bought the estate during 1767 which posed for a great opportunity for conducting research about Swedish manor culture which in combination with its substantial archive deriving from the middle was optimal for research purposes.24

The political situation in Sweden and the ongoing dismantling of the entailed estates had a role in the State Art Museums position. The entailed estate meant that a property had to be inherited in a specific order and was previously used for making sure that a property would not be divided when it was inherited, commonly from the father to the son. The owner of an entailed estate could not sell or bequeath the property. The liquidation law was implemented in Sweden during 1963 which meant that when the person that owned an entailed estate during 1964 died, the entail was dismantled.25 The State Art Museums argued that valuable

23 1900-talets Nynäs, https://www.nynasslott.se/Nyn%C3%A4s-slott/historien/fr%C3%A5n-medeltid-till- framtid/1900-talets-nyn%C3%A4s, retrieved 10/05/2020. 24 ’Lars Sjöberg: Nynäs I Bälinge, en kulturskatt för forskningen’, NM Bulletin 1985, volume 9, number 3. 25 https://lagen.nu/begrepp/Fideikommiss, retrieved 15/05/2020. 9 objects risked being sold to Auction houses and that legislation proposals concerning the area would only hinder the export of individual objects which would have been deprived of its historical context when extracted from its original setting.26

Plans for a Research Centre of Manor Culture at Nynäs Castle – Gaining Support from the Cultural Institutions

The State Art Museum wrote the letter about the plans for a research centre of manor culture at Nynäs castle and sent it to the Swedish National Heritage Board, the Royal Swedish Academy of Letters, History and Antiquities and to the department of Art History at Uppsala University and Stockholm University.27 The idea was to establish the support from the cultural institutions before applying for donations which were a key part of the written applications that would later be sent to the foundations in order to secure funds for the acquisition of the collections. In the letter there was a recommendation and wish to preserve the collection in its entirety and that there were few manor houses in Sweden which retained its original character.

The Swedish National Heritage Board were in support of the solution proposed in the letter and argued that Nynäs is one of the most interesting cultural heritage sites in Södermanland when it comes to its collections and the diverse history of the building that is characterized by different eras. Likewise, The Royal Swedish Academy of Letters, History and Antiquities fully supported the solution proposed in the letter with the statement that the cultural heritage sites in Sweden were getting fewer and the possibilities to preserve them in an unchanged condition became increasingly limited. They argued that this was partly because Sweden lacked the government entry of the kind that existed in the United Kingdom through the National Trust. Furthermore, they argued for the importance of preserving Nynäs as a cultural heritage site and the importance to preserve the collections in its entirety. Moreover, they argued that the completeness of the archive material, stretching from the 17th-century, constituted a good basis for a research centre about manor culture as proposed by the State Art Museums.28 The Department of Art History at Uppsala University and Stockholm University also expressed their full support to the proposition.29

26 Överintendentens korrespondens rörande Nynäs, E2k-18. Nationalmuseum’s archive. 27 The letter was sent during 18/8 1983 with the title “PM angående tillskapandet av ett forskningscentrum för Svensk herrgårdskultur på Nynäs I Södermanland”. Nationalmuseums archive, Överintendentens korrespondens rörande Nynäs, E2k-18. 28 The Swedish National Heritage Board answered in a letter to the State Art Museums during 26/9 1983 and The Royal Swedish Academy of Letters, History and Antiquities answered the State Art Museums in a letter 23/9 1983. Nationalmuseums archive, Överintendentens korrespondens rörande Nynäs, E2k-18. 29 The Department of Art Hisory at Uppsala University answers the State Art Museum 25/8 1983 and the Department of Art History at Stockholm University answers in a letter 29/8 1983. Nationalmuseums archive, Överintendentens korrespondens rörande Nynäs, E2k-18. 10

Donations and funds

After the State Art Museum outlined the guidelines for their acquisition interest, the inventories were valued and listed by the authorized appraiser Lars Edelstam. The exception was the objects that the Gripenstedt family wanted to keep, which included the library on the third floor.30 Funds for the purchase were raised through donations to the State Art Museums that were made possible by Nationalmuseum’s friend association with the chairman Henry Montgomery and the vice chairman Princess Christina, Mrs Magnuson. A joint petition was made to Knut and Alice Wallenberg and Marianne and Marcus foundations during 21/9 1983 where the State Art Museums together with the Nationalmuseum’s friend association received a grant of SEK 2,5 million for acquiring the collection at Nynäs. 31 According to the State Art Museums the actual value was much higher. The last private owner Johan Gripenstedt bestowed David von Krafft’s painting Hildbrandska guldbröllopstavlan to the State Art Museums.

The last private owner Johan Gripenstedt demanded the property, with the surrounding land and buildings, to be sold for at least SEK 2,1 million which were a condition for selling the interiors to the State Art Museums. Södermanlands County Council wanted to acquire the property and started negotiating with potential donors. They managed to collect the full amount for the purchase of the land and surrounding buildings with a donation from the state as well as donations from Nyköpings municipality and from private donors.32 Thereby, the County Council of Södermanland acquired Nynäs as a property to be used for museum purposes while the State Art Museum acquired the collections.33 This meant that the collections, the estate and the surrounding buildings were acquired and the last private owner Johan Gripenstedt gave the State Art Museums an option for acquiring Carl Göran Bonde’s library until the following year.34

30 The total value was SEK 3 million where SEK 500 000 was excluded from sale, thereby the total sum for the collections were SEK 2,5 million. 31 The contract of sale was written during 3/9 1984 with the sum of SEK 2,5 million for the collections with the date of access 1/11 1984. 32 The state donated SEK 800 000 for the County Councils acquisition of the property with the surrounding land and buildings. 33 This is stated in a contract 16/10 1984. 34 In the contract of sale, Johan Gripenstedt gave the State Art Museums an option for acquiring the library until 1/7 1985. 11

Acquiring Carl Göran Bonde’s Library

The State Art Museum were interested in acquiring the library created by Carl Göran Bonde in order to preserve an early 19th-century library in its entirety. The importance of the library, both for Nynäs and in a wider context was stated in a letter of expertise by Sten G. Lindberg.35 Previously, the State Art Museum requested economic funds for the library in a letter to the Ministry of Education and were granted a substantial donation.36 Subsequently, the chairman and vice chairman of Nationalmuseums friend association helped to retrieve and complement the remaining money through Sven and Dagmar Saléns and Gunvor and Josef Anérs foundations.

There were books that belonged to the library in Nynäs that were on deposit in the National Gallery in Washington. These books belonged to Johan Gripenstedt and the State Art Museum wanted to return the books to Nynäs in order to acquire the complete collection of books.37 The National Gallery had an agreement with Johan Gripenstedt that they could deposit the books until 1987. Eventually, the State Art Museums were able to grant funds for the acquisition and the contract of sale for the books deposited in the National Gallery were made during 20/11 1985.38

Thereby, Nynäs and the main part of its collections could be preserved for the future in a collaborated effort by the state, the County Council, foundations and private individuals. The acquisition of Nynäs was unique for the State Art Museums.

Dagens Nyheter published an article about the acquisition of Nynäs before it was opened for the public. In the article, Lars Sjöberg who was the curator of the castle collections at the State Art Museums argued for the importance of the collections. He said that Swedish castles and manor estates contains more inventories from the 17th and 18th-century than in other parts of the continent where revolutions and wars have destroyed major cultural treasures. Therefore, European researchers travel to Sweden in order to examine historical interiors, and in that context, the collections of Nynäs is a valuable study object. Furthermore, the curator argued that Nynäs with its collections provides the opportunity to get an insight into the life of the masters and servants on the major manor estates. The superintendent of the State Art Museums Per Bjurström viewed the acquisition as a positive sign that the cultural treasures of the Swedish castles could be saved even after the dissolution of the entailed estate. He said that manor estate owners have been tempted to sell parts of their collections in order to cope

35 The library was valued to SEK 1,5 million. 36 The Ministry of Education granted SEK 700 000 for acquiring the library. 37 Subsequently, the books were valued to SEK 110 000 by Libris antiquarian and the State Art Museums gave an option for the acquisition until 31/12 1985 while awaiting response from Washington. 38 ’Lars Sjöberg: Nynäs I Bälinge, en kulturskatt för forskningen’, NM Bulletin 1985, volume 9, number 3 and Nationalmuseums arkiv, Nationalmuseums avdelningar NM/AVD, Överintendentens korrespondens, SE/AB144/NM_1-1/E 2 K/18, 1982-1986. 12 with the economy which resulted in a major outflow of objects. Legislations and sale prohibitions have been ineffective. Moreover, the superintendent argued that the settlement of Nynäs and the collaboration between the private and the public is similar to the National Trust system in England.39

39 Mälarstedt, Kurt. Nynäs Slott - Ädelsten med unikt innehåll, DN, 2/9 1984. 13

Staging the Period Rooms 1984-2020

National Trust - Heritage and Country Houses

There are several organizations in the world that are dedicated to restoring, preserving, resurrecting historic houses but the National Trust has a long history of acquiring and safeguarding over 300 historic houses.40 When the National Trust was formed during the 19th- century the primary goal was to safeguard access to the countryside by acquiring open spaces. During the 1930s county estates were sold off and families could not afford the upkeep of large estates which could not function without a large staff force. Inheritance tax or death duty for the rich were 40% which forced the families to sell parts of their manor estates. Concerns were raised weather Britain would lose its stately homes and country houses which were characteristic for the British countryside. The National Trust changed direction and began to acquire these country houses. This was possible through the National Trust Act 1937 which meant that the families that sold their country houses did not have to pay death duties and could continue to live in the manor estate under the National Trust Country House Scheme, where two generation could live in the estate for free and thereafter would pay market rent. The National Trust thereby becomes responsible for paying the upkeep of the estate which means the estate must generate a significant income by opening it to the public or alternatively come with a substantial endowment.41

The conventional claim for the importance of the British Country houses are often connected to the idea that the house, park and collection has grown over the centuries, creating an organic entity. Although, since the 19th-century inherited works of arts were sold off by the owners in order to secure a strained financial situation. In order to prevent the outflow of artoworks to other countries, the National Trust set up the National Art Collections Fund (NACF) during 1903 which was a voluntary organization that strove for enriching and preserving the national heritage.

In the years following the second world war the period rooms in the country houses were redecorated to conform aesthetical ideals which were followed by a greater shift towards a more caseous approach on how to stage the interiors of country houses which must be justified by historical evidence. Although, the Trust has been criticised for conforming to aesthetics rather than authenticity. The increased emphasis on historical authenticity led to a backlash against the restoration work that were carried out by the Trust during the 60s and 70s under the advice of John Fowler who was an interior decorator and an expert in the ‘country house style’. Even though Fowler was mainly an interior decorator he also looked at historical

40 National Trust, Houses and Buildnings, https://www.nationaltrust.org.uk/houses-and-buildings, retrieved 28/05/2020. 41 http://users.aber.ac.uk/dip/modules/corgs/lnotes/nat_trust/lnotes/national_trust.htm, retrieved 01/05/2020. 14 evidence and interior schemes. He re-arranged houses that had been acquired with almost no interiors and compensated the bareness by creating colour schemes that accentuated the architectural features.42

Art History and Ethnography - Different Intentions

Art Museums and Ethnographic museums can own somewhat similar collections that belongs to historic houses and manor estates. For example, the Nordic Museum owns the collections of several manors such as Tyresö castle, Svindersvik and Julita manor.43 The department for gentry culture was formed in the Nordic Museum during the first get together of the board after the death of Artur Hazelius (1833-1901).44 Additionally, there were a department for peasantry culture and both departments were responsible for collecting objects but they were originally connected to different university subjects. The department for peasantry culture were oriented on folklore research and human geography whereas the department for gentry culture were directed towards style classification and art historical research.45 The departments conducted research in the area until the 1960s when the old organization was outdated.46 Apart from Nynäs, Nationalmuseum is responsible for the art collections on several castles and manors in Sweden. They are responsible for the paintings, drawings, sculptures and graphic sheets in the royal pleasure palaces Gripsholm, Drottningholm, Strömsholm, Rosersberg and Ulriksdal and they are responsible for the collections and exhibitions at Läckö castle.47 In contrast to the art museum, the ethnographic museum is based on interpretive ideas and not form. In the ethnographic museum, the artefact is seen as the achievement of a cultural group and there is less focus on the inspiration of specific individuals.48

There is a distinction in the mission and intention of the museum categories that is reflected in how they stage their collections in their museum buildings. The intentions of collection display in an Art Museum is to show the aesthetic qualities of the isolated object where the object embody a unique example of a school or style and is an example of an individual or

42 Barker, Emma. “Heritage and the Country House”, pp 200-228, Contemporary cultures of display, Yale Univ. Press in association with the Open Univ, New Haven, 1999. 43 Slott och Gårdar, https://www.nordiskamuseet.se/slott-gardar, retrieved 22/05/2020. 44 Medelius, Hans, Nyström, Bengt & Stavenow-Hidemark, Elisabet (ed.), Nordiska museet under 125 år, Nordiska museet, Stockholm, 1998, p 128. 45 Medelius, Hans, Nyström, Bengt & Stavenow-Hidemark, Elisabet (ed.), Nordiska museet under 125 år, Nordiska museet, Stockholm, 1998, pp 206-207. 46 Medelius, Hans, Nyström, Bengt & Stavenow-Hidemark, Elisabet (ed.), Nordiska museet under 125 år, Nordiska museet, Stockholm, 1998, p 415. 47 Slottsamlingarna, https://www.nationalmuseum.se/samlingarna/vad-finns-i-samlingarna/slottssamlingarna, retrieved 19/05/2020. 48 Carbonell, Bettina Messias (red.), Museum studies: an anthology of contexts, 2nd ed., Wiley-Blackwell, Chichester, 2012. PP 361-362. 15 authoritative illustration of beauty and taste. The art student can experience a heightened sense of being or an emotional joy when viewing an original object whereas the untutored viewer can experience glimpses of beauty or fine taste when undisturbed by didactic signs or display elements. The focus lies on the aesthetic and material qualities which means that the social and historical context of an object is erased in an art museum. Artworks that are removed from their original context suggests that there is a shared experience of beauty and universality. Likewise, universality is apparent in ethnographic museums which implies that the displayed objects represent the heritage of all the current populations.49

As an example, when comparing Nynäs with Julita, they are both manor estates with a similar appurtenant collection of historical objects but the staging of the collections are different. Arthur Bäckström, the last private owner of Julita were interested in culture history and were influenced by the romantic nationalism during late 19th-century. Arthur Bäckström’s mother were acquainted with Artur Hazelius who was the founder of Skansen and the Nordic Museum during a period when the museum movement were growing in Sweden. Bäckström were inspired by Hazelius and moved buildings to his “Julita skans” and created a museum in 1930 to host his growing collections. Julita manor was bequeathed to the Nordic Museum by Arthur Bäckström during 1944 and his will stated that the main building should be preserved and unchanged in order to present a true picture of a manor in Sörmland during the end of 19th and the beginning of the 20th-century.50 In Julita manor the tables are set with linen and porcelain, there are flowers and plastic fruits which mediates the lives of the people that lived in the estate. Another difference between an art museum and ethnographic museum is the use of mannequins which are present in exhibitions created by the Nordic Museum, for example in their main museum building and in Skansen open air museum. The use of mannequins was inspired by the 19th-century international- and trade fairs, dioramas in natural history museums as well as from national history museums. Consequently, the use of mannequins in 19th-century displays made the visitor to think of themselves being both inside and outside the represented world.51

The International Committee of Historic House Museums (DEMHIST) was created 1998 in order to promote house museums which until then was considered as a poor relative to the classical kind of museum, for example museums of fine arts. Furthermore, DEMHIST was created in order to establish the identity of house museums and the use of special tools and strategies and how to mediate stories to the public.52 DEMHIST conducted a categorization project in order to divide the historic house museums into different sub-categories and the results were presented during the annual conference 2007. The initiation of the project was

49 Carbonell, Bettina Messias (red.), Museum studies: an anthology of contexts, 2nd ed., Wiley-Blackwell, Chichester, 2012. PP 361-362. 50 Nordiska Museet. https://www.nordiskamuseet.se/slott-gardar/julita-gard/om-julita-gard. Retrieved 2020-05- 23. 51 Design and Agency: Critical Perspectives on Identities, Histories, and Practices. PP 215. 52 http://www.museumartconsulting.com/sito_inglese/testi/Pavoni_demhist.html 16 based on a concern that there was an enormous variety of house museums that were grouped under the same category. For example, Versailles and the small house of Emile Zola in France is not comparable. These historic house museums communicate their stories in different ways and offers different experiences for the visitor depending on its identity. The variety in the range of house museums may cause a confusion on what to expect among the visitors and the professionals would benefit from sharing experiences, problems and solutions with house museums with a similar identity and museological approach.53 The typology that are most suitable when identifying Nynäs is the Ancestral homes which is country houses open to the public and Period rooms which refers to a house museum that contains rooms inspired to styles of various periods.54 Linda Young also examined 600 historic house museums in the United Kingdom, the United States, and Australia in order to classify them and according to her definition Nynäs mostly resembles the Country house museum which is the product of multi-generational development of the house, furnishings, collections, and gardens.55 Nynäs and its collection is both the product of generational development and contains period rooms that are inspired by different styles.

The historic house museum is an exhibition space that can be of different sizes and concern several orientations such as cultural history, art history or community history. The house museum is not built as an art museum but is the home of people from the past. This entails certain challenges and possibilities when staging the collections. The historic houses contain traces of the people that lived there and their stories are transmitted through the objects. They can be seen as universally understood due to that everyone can relate to the concept of a home and it can create a recognition, comparing our own lives to the people that lived there. Although, the past cannot be accurately re-created because it was never a concrete entity and there is always the act of selecting what to stage.56

Dual Values of the Period Room

The period rooms make up the historic house museum. When talking about the museum-made period rooms it is important to outline the distinction between the period rooms that are situated in a historic house museum and the period rooms that are situated in museum buildings or galleries. In the former the staged rooms often mirror specific eras or historical events of the historic house and the museum re-creates the rooms by the act of choosing what to present and what to remove. Parts of the interiors may be left and the fixed interior acts as a backdrop for the staged scene. On the other hand, period rooms can also be situated in

53 Rosana Pavoni, Museum and Art Consulting. http://www.museumartconsulting.com/sito_inglese/case- museo_Pavoni-2.htm. Retrieved 2020-05-24. 54 Rosana Pavoni, Museum and Art Consulting. http://www.museumartconsulting.com/sito_inglese/case-museo_Pavoni-2.htm. Retrieved 2020-05-24. 55 Young, Linda March 2007. “Is there a museum in the house?” Museum Management and Curatorship 22:1. 56 Mårdh, Hedvig. Re-Entering the House, Nordisk Museologi, 2015. 17 museums or galleries where a specific period or historical event is displayed as part of an exhibition. Unlike the period rooms in the historic houses, the period rooms in museums or galleries re-creates the rooms by adding backdrops, wallpaper, doors and windows along with the completely imported interior. For example, the Victoria and Albert Museum reconstructed a Georgian interior in their British Galleries that opened 2001. The V&A museum already had period rooms installed which were devoted to English furniture and these period rooms were called the English Primary Galleries. The rooms were staged chronologically, showing the stylistic development and primary pieces of British art and design. The English Primary Galleries is a product of the time it was created after the war which offered a patriotic nostalgic escapism. However, the rooms were outdated during the 1980s due to new standards of how to restore and present historic buildings. Instead of the passive walking through a doll house experience in the English primary Gallery, the new approach for the British Gallery were to reinforce the rooms with a fourth wall and there was a greater emphasis on self- learning experiences, focusing on the drivers behind stylistic developments. In order to focus on the masterpieces in the museum’s collections, the strategy was to tell the story of high-end market goods, their customers and creators. 57 These period rooms that are constructed inside a museum building are more accessible to people than traveling far to the country houses which often requires a car.

The period room is not a time capsule that is frozen in time but is instead created by the museum through the process of selecting, adding, removing and changing the interior. The examination of the process of the creation and staging of the period rooms can provide knowledge about how a society constructs its cultural identity through the conception of history. Thereby, the period room possesses dual values in presenting the history of the past which at the same time shows the conception of history during the time it was created and in doing so, the period room becomes a museum over a museum.58

57 Julius Bryant, Curating the Georgian Interior: From Period Rooms to Marketplace? Journal of Design History, Vol. 20, No. 4, Eighteenth-Century Interiors. Redesigning the Georgian (Winter, 2007), pp. 345-350, Oxford University Press on behalf of Design History Society. 58 Marie-Ève Marchand, Reconsidering the period room as a museum-made object, 2019. Retrieved 05/05/2020.

18

Original Intentions

Nynäs castle opened for the public during spring 1985. Originally, the plan was to leave everything the way it was left by the last owner after the overtaking in order to present a true picture of life in a Swedish manor house during the 20th-century.59 The idea was to show the long-time development of a manor estate.60 Although, the interiors of the castle was not completely presented as it was left by the former owner. Nationalmuseum removed objects before the opening to make it easier for the visitors to move through the castle. Some rooms were completely covered with objects and the third floor was used as a storage room even after the opening.61

The philosophy of leaving objects alone, without interference, and thereby respecting the integrity of the building that evolved through centuries is the prevailing attitude in recent years. This is applicable to the country houses that is quired by the National Trust straight from the private owners that hosts a domestic collection, although this is less relevant for the houses that has already been significantly altered when owned by an institution. Calke Abbey were acquired by the National Trust during 1985. The intention was to present as it was found, although the Trust were criticised for staging the interiors as the public would expect them and for destroying the magical atmosphere by “tidying up the clutter”.62 On The National Trust’s website, Calke Abbey is promoted as a step back in time, unlike the other stately houses with faded and peeling paint, a vast collection of personal objects presented as found.63

59 Kåberg Helena, ’Rearranging Nynäs Castle’. NM Bulletin no 15, 2008. 60 Lars Sjöberg interview 20/5 2020. 61 Conversation with Micael Ernstell 14/05/2020. 62 Barker, Emma. “Heritage and the Country House”, pp 200-228, Contemporary cultures of display, Yale Univ. Press in association with the Open Univ, New Haven, 1999. 63 https://www.nationaltrust.org.uk/calke-abbey/features/the-history-of-calke-abbey. Retrieved 28/05/2020. 19

Figure 2. Floorplan, lower floor. © Nationalmuseum.

Figure 3. Floorplan, second floor. © Nationalmuseum.

20

Re-Arranging the Period Rooms

The project of re-arranging the period rooms in Nynäs was initiated during 2007. To show objects in interaction with an authentic environment contrasted with how art museums presented objects during the 20th century. The original idea was to present a true picture of the life in a Swedish manor house during the 20th-century as it was left by the last private owner as a historic house museum that were untouched by curators. Nationalmuseum problematized the previous display and considered other ways of staging the period rooms. They believed that other epochs could be more clearly highlighted and considered other ways of making the collections more available and accessible. Furthermore, the question was raised whether the interiors from the 1980s really reflected the life in a 20th-century manor. Several categories of object that were characteristic for manors like Nynäs was not included in Nationalmuseums acquisition and significant objects such as silver, glass, china carpets and ornamentals were removed or sold before the overtaking 1984. Another reason for the re- arrangement was the difficulties of showing the period rooms to the visitors.64 The long history of Nynäs was told in parallel tracks which made it difficult for the visitors to fully grasp the richness of the collection and Nationalmuseum wanted to create a more interesting experience for the visitors.65 The mixture of old and new interiors created the impression of a living home but it was a constructed illusion due to the significant objects that had been removed. Thereby, the re-arrangement did not appear to be a large intrusion and the project of making the history and environment at Nynäs more accessible were prioritized.66

The inventories were sorted and some interiors were given new placements and others were brought forth from the storage rooms, although the changes were not permanent in the sense that it was possible to restore the interiors using inventory lists. In order to replace the missing object categories, Nationalmuseum deployed objects from their handicraft and design collections.67 Nationalmuseum looked at the unique character of each room in order to find out what periods were distinguishable in the architecture and in the fixed interior.68 The idea was to stage the period rooms chronologically and the tour started on the second floor with the story of the 17th-century Nynäs. Visitors are always accompanied by a guide and they are not allowed to walk on their own through the castle. The guided tour takes the visitor through a time journey and mediates the general story as well as the history of the family and the place.69

64 Kåberg, Helena. ’Spännande Slottsbesök’, Nationalmusei Vänner, 2009, 2. 65 Kåberg Helena, ’Rearranging Nynäs Castle’. NM Bulletin no 15, 2008. 66 Helana interview 15/5 67 Kåberg, Helena. ’Spännande Slottsbesök’, Nationalmusei Vänner, 2009, 2. 68 Helena interview 15/5 2020. 69 Helena Kåberg correspondance 25/5. 21

The Big Dining Room and the Bedchamber of the Excellency

The major characteristic features of the big dining room on the second floor is the gold wedding portrait of the Hildebrandt family by David von Krafft (1655 1724) and the stucco ceilings from the 1670s that were probably made by Carlo and Giovanni Carove.70 The staged interiors of the big dining room have remained somewhat unchanged since the opening 1985 (Figure 4), apart from a few paintings and furniture that was added in connection to the project 2008 (Figure 5). This room contains distinctive fixed interior deriving from both the 17th and 18th-century and there are furniture from different eras. The idea behind the re-arrangements was not to create artificial rooms that only reflected a specific period and the intention was not to add completely new interiors, which were not accessible in the collection nor available to acquire. Thereby, the idea was to emanate from the place and tell a clearer story with the available objects. The big dining room is the first period room of the guided tour where the older history of Nynäs is told.71 There is a variation in the guided tour depending on the expertise of the guide which creates a unique visitor experience. There are no roping or barriers to restrict the experience which places the visitor “inside” history.

Since the opening of Nynäs 1985, the big dining room has transformed several times in connection to exhibitions that highlighted specific stylistic periods. The exhibition Det Gustavianska Nynäs took place during the summer 1994 and 1995. There was a display of the interiors that relates to the modernisation of the estate that were carried out about 1790 by David Henrik Hildebrand. Furnishings and interiors that belonged to later epochs were replaced by what originally existed in the rooms. Furniture was mainly found in the attic, storage rooms, the basement, wardrobe or existed in other parts of the estate which could be placed in its original places by looking at the estate inventory that were written in connection to David Henrik Hildebrands wife’s death during 1796 and the inventory from 1814. In order to restore the interior in connection to the exhibition, a great deal of furniture had to be borrowed.72 The majority of the 18th-century environments that exist in Sweden today were reconstructed during the first half of the 20th-century. These are often perceived as authentic remains, but the idea of the Swedish 18th-century has been gradually established by academic research, within museum practice and in cultural heritage conservation.73 Furthermore, there was an exhibition in Nynäs 1998 where the period rooms were staged in interiors deriving from the 1860. The idea was to recreate the interiors from when Johan August Gripenstedt and Eva Gripenstedt lived in Nynäs.74

70 Document from Nynäs, Liten beskrivning rum för rum, 1998–99. 71 Helena Kåberg email correspondence 25/5. 72 Sjöberg, Lars, Det gustavianska Nynäs, [Bonnier Alba], [Stockholm], 1995. 73 Read: Edman, Victor, Sjuttonhundratalet som svenskt ideal: moderna rekonstruktioner av historiska miljöer, Nordiska museets förlag, Stockholm, 2008. 74 1860-talets Nynäs, en liten beskrivning rum för rum, document in Nynäs. 22

Even though these exhibitions were temporary, they highlight difficulties of staging the historic house in “pure” styles. These challenges can be illustrated by looking at the staging of the National Trust owned Ham House in Surrey 1970. Peter Thornton, head of the Furniture and Woodwork department of the Victoria and Albert Museum introduced a more academic approach to interior reconstruction and developed a new understanding of how interiors were arranged in a historical setting. Ham House were rich in documentation and had an extensive collection with many original objects. The big dining room in Ham House were repainted and partly re-arranged according to the documentation but the room could not be completely restored to its 17th-century appearance because the floors had partly been removed during a later period.75

In Nynäs, the guided tour continues into the bedchamber which is adjacent to the big dining room and is characterized by its 17th-century stucco ceilings and alcove. Initially, there were no bed in the room which can be seen in an image from 1984 (Figure 6), a bed was added in a later stage. During the re-arrangements 2008, the bed was covered in silk textiles with black patterns (Figure 7), spiral-twisted gueridons were added from Karl XV: s collections in Ulriksdals castle and a jewellery cabinet were added from Nationalmuseums collections.76 The changes in the interior accentuated the 17th-century character of the room which suited the chronology of the guided tour.

75 Barker, Emma. “Heritage and the Country House”, pp 200-228, Contemporary cultures of display, Yale Univ. Press in association with the Open Univ, New Haven, 1999. 76 Lite allmänt om omöbleringen inför 2008, document in Nynäs. 23

Figure 4. The Big Dining Room 1985. © Nationalmuseum.

Figure 5. The big dining room after the re-arrangements 2009. © Nationalmuseum.

24

Figure 6. The Bedchamber, January 1984. The photo is taken before the opening. © Nationalmuseum.

Figure 7. The Bedchamber 2009. © Nationalmuseum.

25

The Blue Bedchamber, the Gallery, the Green and Red Atrium

The second part on the same floor had a distinct neo-classical character and objects from the turn of the century 1800 were gathered there.77 Moreover, Nationalmuseum made new furniture covers to the deteriorated old fabrics in order to create the illusion of 18th-century.78 For example, Nationalmuseum printed new cotton bed covers for the late Gustavian bed in the blue bedchamber with a pattern that is called “Ranbo” (Figure 8). The pattern and colour correspond with the preserved inventories from the period. There have been few alterations of the gallery (Figure 13), although some 18th-century furniture and paintings were added during the project 2008 (Figure 12). Even though the graining painted wall is likely to have been made during the 19th-century the interior correspond to what was considered to med modern in banqueting and dining rooms during the middle of the 18th-century.79 There has been several music concerts in the Gallery during its time as a museum which is an explanation for the sparse interiors.

During a substantial part of the 20th-century the general idea was that paintings and artworks should be placed in museums or art galleries and the display of artworks in country houses were in contradiction to that standards where masterworks and insignificant paintings were densely displayed on the walls. During 1952 Anthony Blunt, who was the surveyor of the queen’s pictures, re-arranged the display of paintings in Petworth House in Sussex. He categorized the artworks and thinned out the display with resemblance to an art gallery. Since then there has been an increased scholarly interest in examining collecting and patronage which led to the belief that artworks should hang in their original settings in the country houses. Furthermore, public collections were influenced by the shifted attitude and were displayed as a country house with rich damask densely hang paintings that were complemented with furniture and sculptures. Timothy Clifford, the director of the National Gallery of Scotland since 1984, advocated these developments and justified the approach by saying that the public art gallery descends directly from the parade rooms of the country house. Nevertheless, art historians questioned whether individual artworks become subordinated to the demands of a decorative scheme. In a three-row hang in a public gallery the visibility of the top painting is very restricted and even more restricted in a country house.80 These restrictions are illustrated in the image of the green atrium (Figure 9) where the visibility of the paintings is restricted due to the three-row hang and the dark lighting.

77 Kåberg, Helena. ’Spännande Slottsbesök’, Nationalmusei Vänner, 2009, 2. 78 Interview Helena Kåberg 15/5 2020. 79 Litet allmänt om omöbleringen inför 2008. Document from Nynäs. 80 Barker, Emma. “Heritage and the Country House”, pp 200-228, Contemporary cultures of display, Yale Univ. Press in association with the Open Univ, New Haven, 1999. 26

Figure 8. The Blue Bedchamber with the late Gustavian bed 2009. © Nationalmuseum.

Figure 9. The Green Atrium. 2020.

27

Figure 10. The green atrium with its original staging, 1985. © Nationalmuseum.

Figure 11. The red atrium, 2020.

28

Figure 12. The Gallery, 2020.

Figure 13. The Gallery, 1985. © Nationalmuseum.

29

Figure 14. Floorplan, top floor. © Nationalmuseum.

30

The Victorian Hunting Salon

When entering the Victorian Hunting Salon, the effect of the bright red colour is striking and there are objects in every corner of the room. The idea behind the Victorian Hunting Salon was to tell the story of when the Gripenstedt family came to Nynäs and how it could have looked at the end of the 19th-century. Södermanlands County Council renovated the floors, roofs and painted the walls orange in traditional linseed oil81 and the period room were staged in neo-rococo interiors from the Nynäs collection. Ornaments, embroidered pillows, tablecloths, graphic sheets and paintings were also gathered from the collection at Nynäs and objects that were missing were replaced with objects from Nationalmuseum’s other collections. The Victorian hunting room were completed with decorative pieces on tables and shelves that were on loan from Nationalmuseum’s Gustavsberg porcelain collection.82 Parallel to the project of interior reconstruction in Nynäs, the curator worked with the exhibition “förfärligt härligt” which were about rehabilitating 19th-century design which was neglected by the modernism. Several ideas were taken from that exhibition and the red velvet furniture covers that had previously been used in “förärligt härligt” were remade and used on the furniture in the hunting room and thereby, the visitor encounters the striking red colour of the newly made furniture covers instead of a faded 19th-century (Figure 15 and Figure 16).83

In connection to the reconstruction, Nationalmuseum discussed authenticity and how to stage the castle when several objects were missing. Even though some objects existed from when the family lived in the estate, it was not enough to completely recreate it in an authentic way and it would not be enough to engage the visitors. The guided tour includes the history of the family and the place but for Nationalmuseum it was important to also include the art historical perspective in the guided tour and to tell the story through the objects and the stylistic history.

The curator that worked with the re-arrangement of Nynäs had just finished the Attingham Summer School and had visited several historic houses owned by the National Trust in England. There was a focus on storytelling, the profile and what is unique for the specific place. Subsequently, the curator tried to find out what was unique with Nynäs and what characterisations that made it distinguishable from other places.84 The National Trust own over 250 historic houses in England, Wales and Ireland and they constantly need to find ways to stage their houses in order to attract visitors.85 Thereby, the staging of the historic houses owned by the Trust may reveal possibilities and limitations of collection display how to mediate knowledge through storytelling.

81 Litet allmänt om omöbleringen inför 2009, document in Nynäs. 82 Kåberg, Helena. ’Spännande Slottsbesök’, Nationalmusei Vänner, 2009, 2. 83 Kåberg Helena, ’Rearranging Nynäs Castle’. NM Bulletin no 15, 2008. 84 Helena interview 15/5 2020. 85 Barker, Emma. Contemporary Cultures of Display, ‘Heritage and the Country House’. 31

Figure 15. The Victorian hunting salon. Picture from 2020.

Figure 16. The Victorian hunting salon, 2020.

32

Figure 17. The Victorian Hunting Salon before the opening 1984. © Nationalmuseum.

Figure 18. The Victorian Hunting Salon before the opening 1984. © Nationalmuseum.

33

Gripenstedts Writing Room

The Gripenstedts writing room (Figure 14 Amanuensens rum) opened during 2014. The idea behind the room was to stage a contemporary writing room that would highlight the baron and politician Johan August Gripenstedt (1813-1874) who owned and lived at Nynäs. There is a map on the wall that shows the railway system in Sweden. Both the map on the wall and the picture of a locomotive (Figure 19 and Figure 20) on the adjacent table represents Johan August Gripenstedts work with rapidly expanding the main line in Sweden with capital borrowed from the international market during his period as Minister of Finance 1856-1866. The bust in the corner to the left represents the minister of justice Louis Gerhard De Geer (1818-1896) who was politically active at the same time as Johan August Gripenstedt and they collaborated in several political agendas, there among the Ulriksdals Conference 1863. Louis De Geer wrote that Johan August Gripenstedt was “vad man kallar en vacker karl med ett energiskt ansiktsuttryck som vårdade sitt yttre”. In the right corner of the room there are portraits of his family which were mounted and framed by Nationalmuseum.86 Furthermore, there is also a portrait of Johan August Gripenstedt. Even though the Gripenstedt writing room is a staged example of a mid-19th-century room it is also connected to a specific person which is a different approach from the other period rooms, for example the Victorian Hunting Salon.

Figure 19. Gripenstedts writing room 2020.

86 Micael Ernstell conversation 22/04/2020. 34

Figure 20. The map and framed image of a train in Gripenstedts writing room.

35

The Nursery

Kate Darian-Smith and Carla Pascoe defines the cultural heritage of children and childhood as “complex and varied, incorporating material objects such as toys, intangible heritage such as songs and games and the spatial heritage of the buildings, environments and landscapes that children inhabit.” They argue that the examination of children’s cultural heritage is somewhat restricted, and the explanation may be that children exist in the wider context of the adult world and their presence in the societies have been somewhat obscured, even invisible. Physical sites and places like for example domestic homes are vital for the history and cultural heritage of children. There is a distinction between ‘places for children’ that are created by adults and ‘children’s places’ that are chosen by children, but they can sometimes overlap. The examination of the material culture of children is important due to the lack of documentation about children’s lives in the past, although toys for instance art mostly manufactured and sold by adults to other adults. Though, the material culture of children’s objects offers an insight into the adults’ aspirations for the children and their social values.87

Over the past years there has been a rise in the interest of childhood, which is evident across public policy, the arts, academia in museums and in the general public. Childhood studies has emerged as a major academic discipline, childhood museums have been created, for example the Founding Museum 2004. Established museums such as V&A Museum of Childhood and the National Trust Museum of Childhood have been granted significant funds in order to rejuvenate themselves and other museums have displayed exhibitions regarding the subject.88

The 20th-century nursery opened during 2014 as a chronological continuation of the 19th- century on the third floor (Figure 14, “Löjtnantens rum”).89 Nynäs collections contains a substantial amount of children’s clothes, toys and furniture which made it possible to stage the room using objects solely from the collection. The idea behind the staging of the nursery was to highlight the children that lived in the castle and to tell their stories. A picture of a nursery from the same period that were not taken in Nynäs worked as an inspiration for the staging of the room.90

The guided tour tells the story of a happy and almost idyllic period for the Gripenstedt family with the children who loved the farm’s animals and that the family were highly valued by the servants.91 The nursery contains washers and bathtubs which reflects the importance of hygiene during the early 20th-century. In the guided tour the story of Carl Gustaf

87 Darian-Smith, Kate. Pascoe, Carla, ‘Mapping the Field’, Darian-Smith, Kate; Pascoe, Darian-Smith, Kate & Pascoe, Carla, Children, Childhood and Cultural Heritage, Routledge, 2013. PP 1–17. 88 Rhian Harris, ‘Mapping the Field’, Darian-Smith, Kate; Pascoe, Darian-Smith, Kate & Pascoe, Carla, Children, Childhood and Cultural Heritage, Routledge, 2013. PP 222-239. 89 Micael Ernstell interview 14/05/2020. 90 Micael Ernstell interview 14/05/2020. 91 Guided tour of Nynäs 14/09/2019. 36

Gripenstedt’s (1853-1935) three children Ebba, Carl and Alfred are told. In the room there is a chalkboard that bares the traces from a drawing of the farm’s horse Grållan that were made by Ebba Gripenstedt with the adjacent text “stryk ej ut” or “do not delete” (Figure 21). Unlike the other children’s objects in the room, the drawing on the chalkboard is created by a child which was made by a specific person. Childhood is a period of the life cycle that is associated with acquiring knowledge in order to prepare for the adult world. In connection to the chalkboard there is a school schedule from the same period which provides an insight into the daily life of the children who lived in Nynäs. The combination of the chalkboard, schedule and the small children dress creates an emotional sense for the bygone era and interlaces the visitors own experiences of children or being a child themselves with historical past experiences. The nursery thereby creates a perceived reality of the past even though the room is staged.

Figure 21. The Chalkboard in the nursery, 2020.

Figure 22. Detail from the nursery, 2020.

37

Figure 23. Children's beds in the nursery, 2020.

Figure 24. The nursery, 2020.

38

Kitchen and Service Areas

The kitchen and service areas has been open to the public since 1985 (Room 4-7 on Figure 2). The kitchen has remained relatively unchanged except for when the original colours of the walls were reconstructed and painted pink, grey and white in connection to the temporary exhibition Det Gustavianska Nynäs that took place during the summer 1994 and 1995. Although, some objects were sorted and added in the staging during the re-arrangements 2008.92 The kitchen was installed in connection to the major reconstruction of the building when David Henrik Hildebrand bough the estate during the 18th-century. Most of the fixed interior derives from the turn of the century 1800 but has been marinized since then and it was used until 1958 when a modern kitchen was installed in the north part of the castle.93

The service areas show the living arrangements of the people that lived and worked on grand manor estates such as Nynäs which is mediated through the domestic objects in the kitchen such as pans, jars with pickled food, a food scale, pitchers and baskets that were probably used for preparing and cooking food. In an adjacent room, the servant’s bedroom is staged which shows a relatively simple bedroom in contrast to the grand bedroom on the upper floor. There is also an ironing room, a dining room for the servants and a room filled with looms and equipment for weaving.

Art Historians have adopted new perspectives as the museological practice have transformed over the 20th-century. During the 1980s the period room was outdated, and curators questioned its authenticity and capacity. Simultaneously, there were an increased public interest for living history and requirements for a bigger emphasis on inclusion and democratization. This was a shift in the art history discipline which meant that curators had to fill the historic houses with life. New Museology influenced and challenged the museum- professionals on how to stage the historic houses.94 This theory is established by Peter Vergo in the New Museology (1989) where he critiques and discusses museum practice, theory and history. The ‘New Museology’ can be described as a discourse about the political and social roles of museum institutions where there is a desire to become more accessible and to represent diverse social groups and communities. Instead of the object-based display there is a greater emphasis on education and language. The New Museology were developed as a response to the original museology with its perceived failings. In 1971 it was said that museums were elitist, isolated from the modern world, obsolete and waste of public money. The museum practice was known as a ‘cultural authority’ by mediating the truth and deciding what cultural forms was worthy of presentation.95 Fred Wilsons exhibition Mining the Museum at the Maryland Historical Society 1992 are often described as a starting point for the

92 “Litet allmänt om möbleringen inför 2008”, document in Nynäs. 93 Det gamla köket, text that is displayed in the room. 94 Mårdh, Hedvig. Re-Entering the House, Nordisk Museologi, 2015. 95 Vergo, Peter (red.), The New Museology, Reaktion, London, 1989.

39 new interventions within museum practice. In connection to the shift within museology, there were an awareness of new possible visitor groups and the opening of historic houses that were owned by the less fortunate, for example the museum apartments cared for by the Stockholm City Museum which presents a diverse history.96 Furthermore, many of the country houses that are owned by the National Trust show the ‘downstairs’ areas.97

The kitchen conveys a detailed image of a family during a specific historical moment. There is the concept of separation where the architectural elements are organized as a construct of material culture that embodies social and cultural values of the period. The kitchen in manor estates like Nynäs was separated from the spaces for the owners which is a manifestation of social class.98 The British country houses were built as statements of power to cement, assert and document the position of the owner in the British society hierarchies. Laurajane Smith argues that the blurring of work and home experiences for the domestic staff that lived and worked in the country houses was an economic and social performance that daily legitimized the class system. However, the realities and consequences of the exploitative lives downstairs has in most cases been lost due to that a servant were supposed to perform the daily tasks unnoticed. Even though the country houses are no longer the workplace for domestic staff and workers, the houses are theatres of memory. Visitors engage in collective and individual memory when visiting historic houses. The concept of collective memory stems from Maurice Halbwachs text On Collective Memory (1950).99 In visiting and preserving country houses and classical heritage performances we often forget the lives of the workers, woman and slaves whereas the lives of the elite is honoured. Heritage is about informing the present and learning from past mistakes and injustices which could be used for contemporary and future debates. Thereby, the country house as a heritage destination should engage in remembrance of all the people that worked and lived there.100

96 Mårdh, Hedvig. Re-Entering the House, Nordisk Museologi, 2015. 97 Get a Taste of Life Below Stairs, https://www.nationaltrust.org.uk/lists/get-a-taste-of-life-below-stairs, retrieved 20/05/2020. 98 Le cucine nelle case museo / Kitchens in House-Museums, edited by Rosanna Pavoni, Emanuela Scarpellini. 99 Halbwachs, Maurice, On collective memory, University of Chicago Press, Chicago, 1950. 100 Smith, L 2014, 'Domestic bliss or the great divide? Country houses and the perpetuation of social inequality', in Polly Harknett, Caitlin Heffernan, Matt Smith (ed.), Unravelling Uppark, Unravelled Arts Limited, England, pp. 48-54 pp. 40

Figure 25. The Kitchen, 2020.

Figure 26. Details from the kitchen, 2020.

41

Figure 27. The servant's bedroom, 2020.

Figure 28. Detail from the ironing room, 2020.

42

Conclusion

The aim of the thesis was to examine the procedures of the takeover of Nynäs castle by Nationalmuseum, the intentions behind the staging of the period rooms from 1984-2020 and connect it to contemporary trends within museology. The aim was also to outline the relationship between the representation of the period houses owned by the National Trust with the staging of Nynäs castle. The reason for acquiring Nynäs with its rich collection and intriguing historical layers were many. For the family it was the solution to the economic difficulties which were a consequence of the large part of Nynäs that were sold in 1967. The State Art Museum wanted to prevent a split of the collection and Södermanland’s Museum wanted to aquire specific objects from the collection. Moreover, Nynäs was suitable for conducting research about manor culture due to its vast collection and the State Art Museum gained the support from the cultural institutions and requested money from foundations, the state and private individuals. They were able to buy the castle with help from the private and the public and the acquisition is unique in Sweden.

Initially the idea was that the period rooms should present the life in a 20th-century manor and the rooms were staged with almost no alterations. The ‘presented as found’ approach is similar to the idea behind the staging of Calke Abbey, owned by the National Trust. However, during 2008, Nationalmuseum took another approach and decided to focus on the chronology by re-arranging the period rooms so that a specific era was more accentuated. Nationalmuseum believed that the previous staging did not accurately represent the life in a 20th-century manor because many objects had been removed before the acquisition. Moreover, they believed that a chronologic timeline would make it easier for the visitor to grasp the many historical layers of the estate and better mediate knowledge. Another key change was the opening of the Victorian Hunting Salon on the top floor where Nationalmuseum were inspired by the exhibition förfärligt härligt. The hunting salon is fun and playful, instead of showing decaying fabrics which often is the case when staging the 19th-century, Nationalmuseum chose to make new textile covers. This makes it possible for visitors to imagine themselves during that period. Even though there are no direct inspiration from a specific historic house owned by the Trust, Nationalmuseum may have been indirectly influenced by their staging because of their major contribution of research on the subject.

Nationalmuseum highlighted the children that lived in the manor estates by introducing the nursery which creates an emotional sensitivity to the past which allows the visitor to interlace their own experiences with the people that lived there. Nynäs castle also provides the opportunity for visitors to see the ‘downstairs’ area including the kitchen and the service area which has been shown since Nynäs castle became a museum. Many of the houses owned by the Trust shows the service areas in a similar way. To show the service areas can be put into the context of the emerging new museology which advocated a shift that museums should be more accessible and represent diverse social groups and communities.

43

Nynäs castle is diverse, both in its rich collection and the rooms that are staged in different ways. The guided tour and how the rooms are staged mediates the stylistic development, the history and stories about specific persons which sometimes provokes emotions and the feeling of reminiscence. The historic house provides an insight into the past by combining history of the place with the stylistic developments. Thereby, Nynäs offers a unique experience for the visitor which could not be emulated in an art museum.

44

Acknowledgments

I want to thank my supervisor Sabrina Norlander Eliasson for the support and helpful words during the supervisions. Moreover, I want to thank Micael Ernstell for the support and help with the thesis and for taking the time to visit Nynäs castle and Nationalmuseum’s archive. I also want to say thank you to Helena Kåberg for the interview and correspondence which was very helpful. Furthermore, I want to thank Lars Sjöberg for the interview and for taking your time to answer the questions. Lastly, I want to thank Susanna Harjula for the help of finding relevant material and for answering questions while visiting Nynäs.

45

Bibliography

Literature

Barker, Emma (ed.), Contemporary cultures of display, Yale Univ. Press in association with the Open Univ., New Haven, 1999.

Bryant, Julius. Curating the Georgian Interior: From Period Rooms to Marketplace? Journal of Design History, Vol. 20, No. 4, Eighteenth-Century Interiors. Redesigning the Georgian (Winter, 2007), pp. 345-350, Oxford University Press on behalf of Design History Society.

Carbonell, Bettina Messias (red.), Museum studies: an anthology of contexts, 2nd ed., Wiley- Blackwell, Chichester, 2012.

Darian-Smith, Kate. Pascoe, Carla, ‘Mapping the Field’, Darian-Smith, Kate; Pascoe, Darian- Smith, Kate & Pascoe, Carla, Children, Childhood and Cultural Heritage, Routledge, 2013.

Ellehag, Claes, Nynäs - ett 1600-talsslott från Erik och Konrad Gyllenstiernas tid, Södermanlands Museum, Nyköping, 1985.

Ellehag, Claes, Fem svenska stormanshem under 1600-talet, Nordiska museet, Diss. Stockholm: Univ, Stockholm, 1994.

Edman, Victor, Sjuttonhundratalet som svenskt ideal: moderna rekonstruktioner av historiska miljöer, Nordiska museets förlag, Stockholm, 2008.

Halbwachs, Maurice, On collective memory, University of Chicago Press, Chicago, 1950.

Kåberg, Helena, Rearranging Nynäs Castle, NM Bulletin 15, 2008.

Kåberg, Helena. ’Spännande Slottsbesök’, Nationalmusei Vänner, 2009, 2.

Marchand, Marie-Ève, ‘Reconsidering the period room as a museum-made object’, Journal of Design History, 2019.

Medelius, Hans, Nyström, Bengt & Stavenow-Hidemark, Elisabet (ed.), Nordiska museet under 125 år, Nordiska museet, Stockholm, 1998.

Mårdh, Hedvig. Re-Entering the House, Nordisk Museologi, 2015.

Mälarstedt, Kurt. Nynäs Slott - Ädelsten med unikt innehåll, DN, 2/9 1984.

46

Newby, Howard (ed.), The National Trust: the next hundred years, National Trust, London, 1995.

Pavoni, Rosanna. Scarpellini, Emanuela (ed.). Le cucine nelle case museo / Kitchens in House-Museums.

Potvin, John & Marchand, Marie-Ève (red.), Design and agency: critical perspectives on identities, histories, and practices, Bloomsbury Visual Arts, London, 2020

Roosval, Albin (red.), Svenska slott och herresäten vid 1900-talets början Södermanland, [Lundquist], Stockholm, 1908.

Sjöberg, Lars, Nynäs i Bälinge, en kulturskatt för forskningen, NM Bulletin, vol 9 nr 5, 1985.

Sjöberg, Lars, Det gustavianska Nynäs, [Bonnier Alba], [Stockholm], 1995.

Smith, L 2014, 'Domestic bliss or the great divide? Country houses and the perpetuation of social inequality', in Polly Harknett, Caitlin Heffernan, Matt Smith (ed.), Unravelling Uppark, Unravelled Arts Limited, England.

Söderlind, Solfrid, Nynäs: en vägledning genom herrgårdsbyggnaden, Statens konstmuseer, Stockholm, 1986.

Vergo, Peter (red.), The New Museology, Reaktion, London, 1989. Wachtmeister, Ingegerd, Nynäs - Godset, [2., bearb. uppl.], Sörmlands museums förl, Nyköping, 2003.

Young, Linda, Historic house museums in the United States and the United Kingdom: a history, Rowman & Littlefield, Lanham, MD, 2017.

Young, Linda March 2007. “Is there a museum in the house?” Museum Management and Curatorship 22:1.

Unpublished Sources

‘House Museology: Houses as museums in the age of heritage’ Paper given at the conference of Demeures Historiques (ICOM), in Valletta, Malta, 2006.

47

Archive Material

Nationalmuseum’s archive. Överintendentens korrespondens rörande Nynäs, E2k-18.

Nationalmuseum’s archive. Slottsamlingarnas inventarium över samlingarna på Nynäs slott, referenskod: SE/AB144/NM_1-1/D 4 FT

Archive material in Nynäs castle.

Internet Sources

’Det medeltida Nynäs- En befäst gård’. https://www.nynasslott.se/Nyn%C3%A4s- slott/historien/fr%C3%A5n-medeltid-till-framtid/det-medeltida-nyn%C3%A4s, Retrieved 2020-04-25.

’1600-talets Nynäs - från Fast Hus till Barockpalats’. https://www.nynasslott.se/Nyn%C3%A4s-slott/historien/fr%C3%A5n-medeltid-till- framtid/1600-talets-nyn%C3%A4s. Retrieved 2020-04-25.

’1700-talets Nynäs’. https://www.nynasslott.se/Nyn%C3%A4s-slott/historien/fr%C3%A5n- medeltid-till-framtid/1700-talets-nyn%C3%A4s. Retrieved 2020-04-27.

’1900-talets Nynäs - visioner och verklighet’. https://www.nynasslott.se/Nyn%C3%A4s- slott/historien/fr%C3%A5n-medeltid-till-framtid/1900-talets-nyn%C3%A4s. Retrieved 2020- 04-27.

‘Fideikommiss’. https://lagen.nu/begrepp/Fideikommiss.

National Trust, ‘Houses and Buildings’. https://www.nationaltrust.org.uk/houses-and- buildings. Retrieved 28/05/2020.

Nationalmuseum, ‘Slottssamlingarna’. https://www.nationalmuseum.se/samlingarna/vad- finns-i-samlingarna/slottssamlingarna. Retrieved 20/05/2020.

Nordiska Museet, ’Om Julita gård’. https://www.nordiskamuseet.se/slott-gardar/julita- gard/om-julita-gard. Retrieved 2020-05-23.

Pavoni Rosana. Keynote presentation to the Conference of Pennsylvania Federation of Museums and Historical Organizations, Harrisburg June 4-6, 2005. http://www.museumartconsulting.com/sito_inglese/testi/Pavoni_demhist.html.

48

Rosana Pavoni, Museum and Art Consulting. http://www.museumartconsulting.com/sito_inglese/case-museo_Pavoni-2.htm. Retrieved 2020-05-24.

‘The History of Calke Abbey’. https://www.nationaltrust.org.uk/calke-abbey/features/the- history-of-calke-abbey. Retrieved 28/05/2020.

‘Get a taste of the life below stairs’. National Trust. https://www.nationaltrust.org.uk/lists/get- a-taste-of-life-below-stairs, Retrieved 2020-05-29.

49

List of Illustrations

Figure 1. “SLM X13-87 - Copperplate by Erik Dahlberg 1663,” © Sörmlands Museum...... 6 Figure 2. Floorplan, lower floor. © Nationalmuseum...... 20 Figure 3. Floorplan, second floor. © Nationalmuseum...... 20 Figure 4. The Big Dining Room 1985. © Nationalmuseum...... 24 Figure 5. The big dining room after the re-arrangements 2009. © Nationalmuseum...... 24 Figure 6. The Bedchamber, January 1984. The photo is taken before the opening. © Nationalmuseum...... 25 Figure 7. The Bedchamber 2009. © Nationalmuseum...... 25 Figure 8. The Blue Bedchamber with the late Gustavian bed 2009. © Nationalmuseum...... 27 Figure 9. The Green Atrium. 2020...... 27 Figure 10. The green atrium with its original staging, 1985. © Nationalmuseum...... 28 Figure 11. The red atrium, 2020...... 28 Figure 12. The Gallery, 2020...... 29 Figure 13. The Gallery, 1985. © Nationalmuseum...... 29 Figure 14. Floorplan, top floor. © Nationalmuseum...... 30 Figure 15. The Victorian hunting salon. Picture from 2020...... 32 Figure 16. The Victorian hunting salon, 2020...... 32 Figure 17. The Victorian Hunting Salon before the opening 1984. © Nationalmuseum...... 33 Figure 18. The Victorian Hunting Salon before the opening 1984. © Nationalmuseum...... 33 Figure 19. Gripenstedts writing room 2020...... 34 Figure 20. The map and framed image of a train in Gripenstedts writing room...... 35 Figure 21. The Chalkboard in the nursery, 2020...... 37 Figure 22. Detail from the nursery, 2020...... 37 Figure 23. Children's beds in the nursery, 2020...... 38 Figure 24. The nursery, 2020...... 38 Figure 25. The Kitchen, 2020...... 41 Figure 26. Details from the kitchen, 2020...... 41 Figure 27. The servant's bedroom, 2020...... 42 Figure 28. Detail from the ironing room, 2020...... 42

50

Appendix

Svenska Dagbladet 28/6 1984

51

DN 2/9 1984

52

Interview Questions

The interviews were conducted through video conversations, on the phone and in person. The below stated research questions are an appreciated version of the combined asked questions to the interviewee. This is because the questions were asked on-site along a whole day and questions were asked on several occasions and complimented with supplementary questions on e-mails.

Lars Sjöberg

1. Vad var anledningen till att Nynäs slott köptes av Nationalmuseum? 2. Hur gick övertagandet till? 3. Hur valde Nationalmuseum att iscensätta rummen till en början och hur har iscensättningen förändrats genom åren? Vad var inspirationen? 4. Finns det några kopplingar till National Trusts iscensättningar? 5. Var sättet övertagandet gick till unikt i Sverige? Liknade det sättet NT jobbar (på vilket sätt?) 6. Inför öppningen av Nynäs lämnades inredningen som den var då förre ägaren bodde där för att visa upp ett 1900-tals hem. Vad var tanken med att lämna det orört? Vad ville man visa upp? 7. Varför visade man upp köket? 8. Under 90 talet genomfördes förändringar för att skapa en 1700-tals miljö, vilka förändringar gjordes och varför visa upp 1700-talet?

Micael Ernstell

1. År 2010 öppnade biblioteket på tredje våningen av arkitekt Isak Gustaf Clason, Det blå rummet öppnade 2011, vad iscensattes där? 2. Gripenstedts skrivrum, försökte man utgå från hur det såg ut under Gripenstedts tid eller var det iscensatt som ett exempel från den tiden? 3. Vad var tanken med iscensättningen av barnkammaren, har det någon gång funnits en barnkammare där? 4. Svårigheter att som konstmuseum ställa ut i en slott/herrgårdsmiljö? Vad är en autentisk iscensättning? Man bygger inte upp period rooms på nationalmuseum men istället visar man upp historiska miljöer på plats i historiska miljöer.

Helena Kåberg

1. Under vilka år jobbade du med Nynäs och vad var din roll? Jag är intresserad av de större förändringarna av den permanenta utställningen och som jag förstår det ordnades interiörerna om under 2008? Kan du berätta mer om det

53

projektet, hur länge det höll på, vad var anledningen till att projektet initierades och hämtades det inspiration från hur National Trust iscensatte sina historic houses? 2. I samband med detta projekt iscensattes en barock interiör på andra våningen som skulle reflektera Nynäs tidiga historia. Vad ändrades i interiörerna i denna våning och varför, var denna iscensättning permanent? 3. Under samma projekt, i en annan del på första våningen iscensattes det Neoklassiska Nynäs. Tog man avstamp i de stora förändringar som skedde i samband med att Hildebrand köpte Nynäs? Vad förändrades i interiören och vad var tanken med att iscensätta den perioden? 4. I samband med projektet 2008 iscensattes även Neo-rokoko i den stora salen på tredje våningen. Det Viktorianska jaktrummet återskapades. Varför visades den perioden upp där, var det på grund av den kronologiska genomgången av slottets historia? Var det mycket som ändrades, togs bort och lades till i samband med detta? Var det första gången tredje våningen var öppet? 5. Har det skett några andra stora förändringar i den permanenta utställningen? 6. Hus skiljer sig övertagandet från de andra slotten där nationalmuseum äger samlingarna?

54