Art Bulletin of Nationalmuseum Stockholm Volume 22 Art Bulletin of Nationalmuseum Stockholm Volume 22 2015 Art Bulletin of Nationalmuseum, Stockholm, © Stockholms Auktionsverk, Stockholm Graphic Design is published with generous support from (Fig. 5, p. 35) BIGG the Friends of the Nationalmuseum. © Royal Library of Belgium, Brussels (Fig. 2, p. 38) Layout Nationalmuseum collaborates with © Teylers Museum, Haarlem (Fig. 3, p. 39) Agneta Bervokk Svenska Dagbladet and Grand Hôtel Stockholm. © Biblioteca Apostolica Vaticana, Shelfmark: We would also like to thank FCB Fältman & Riserva.S.81(int.2) (Fig. 2, p. 42) Translation and Language Editing Malmén. © Galerie Tarantino, Paris (Figs. 3–4, p. 43) Gabriella Berggren, Erika Milburn and © Wikimedia Commons/Public Domain Martin Naylor Cover Illustration (Figs. 3–4, pp. 46–47) Anne Vallayer (1744–1818), Portrait of a Violinist, © National Library of Sweden, Stockholm Publishing 1773. Oil on canvas, 116 x 96 cm. Purchase: (Figs. 5–6, pp. 48–49) Janna Herder (Editor) and Ingrid Lindell The Wiros Fund. Nationalmuseum, NM 7297. © Uppsala Auktionskammare, Uppsala (Publications Manager) (Fig. 1, p. 51) Publisher © Landsarkivet, Gothenburg/Johan Pihlgren Art Bulletin of Nationalmuseum is published Berndt Arell, Director General (Fig. 3, p. 55) annually and contains articles on the history and © Västergötlands museum, Skara (Fig. 4, p. 55) theory of art relating to the collections of the Editor © Svensk Form Design Archive/Centre for Nationalmuseum. Janna Herder Business History (Fig. 2, p. 58) © Svenskt Tenn Archive and Collection, Nationalmuseum Editorial Committee Stockholm (Fig. 4, p. 60) Box 16176 Janna Herder, Linda Hinners, Merit Laine, © Denise Grünstein (Fig. 5, p. 152) SE–103 24 Stockholm, Sweden Lena Munther, Magnus Olausson, Martin Olin, © The National Gallery, London (Figs. 1–3, 6–7, www.nationalmuseum.se Maria Perers and Lidia Westerberg Olofsson 17, pp. 167–169, 172–173, 179) © Nationalmuseum, the authors and the owners © The National Museum of Art, Architecture and of the reproduced works Photographs Design, Oslo/Jarre Anne Hansteen, CC-BY-NC Nationalmuseum Photographic Studio/ (Fig. 8, p. 174) ISSN 2001-9238 Linn Ahlgren, Bodil Beckman, Erik Cornelius, © Nicholas Penny (Figs. 9–10, 12–14, 16, Anna Danielsson, Cecilia Heisser, Per-Åke Persson pp. 175, 177, 179) and Hans Thorwid © Museum Gustavianum, Uppsala (Fig. 11, p. 176) Picture Editor © Getty Museum CC-BY. Digital image courtesy of Rikard Nordström the Gettys Open Content Program (Fig. 15, p. 178) Photo Credits © The Swedish Royal Court/Håkan Lind © Samlungen der Hamburger Kunsthalle, (Fig. 9, p. 188) Hamburg (Fig. 5, p. 15) © Eva-Lena Bergström (Figs. 1, 3–4, 6–7, 9, © Museum Bredius The Hague (Fig. 6, p. 16) pp. 191–192, 194–196, 198) © The National Museum of Art, Architecture and © Statens Museum for Kunst/National Gallery of Design, Oslo/Jacques Lathion (Fig. 2, p. 23) Denmark, Copenhagen, CC-PD (Fig. 2, p. 193) © Kalmar läns museum, Kalmar/Rolf Lind © The Nordic Museum, Stockholm/Karolina (Fig. 3, p. 27) Kristensson (Fig. 5, p. 195) Art Bulletin of Nationalmuseum Volume 22, 2015 4 contents Art Bulletin of Nationalmuseum Stockholm Volume 22, 2015 Foreword The Editorial Committee 9 acquisitions 2015 Thomas Willeboirts Bosschaert, Study of a Boy’s Head Carina Fryklund 11 Anne Vallayer-Coster, Portrait of a Violinist Magnus Olausson 17 Amalia Lindegren, Study of a Man in Turkish Dress Eva-Lena Karlsson 21 Jenny Nyström, The Convalescent Margareta Gynning 25 Two French Sculptures Linda Hinners 29 Swedish Watercolour Painting of the 1880s Carl-Johan Olsson 31 Circle of Hendrick Goltzius, Study of a Male Lumpsucker Carina Fryklund 37 Project for a Temporary Façade for San Salvatore in Lauro, Rome, for Festivities in Connection with the Recovery of Queen Christina of Sweden, 1689 Mario Bevilacqua 41 Gustaf Banér and Christina Sture’s Drinking Cup from 1589 Micael Ernstell 45 5 Art Bulletin of Nationalmuseum Volume 22, 2015 contents A Magnificent Musical Clock from Skärva Anders Bengtsson 51 Experimental Jugendstil Glass Micael Ernstell 53 Two Forgotten Names: Carl Hörvik and Björn Trägårdh Anders Bengtsson 57 Marie-Louise Idestam-Blomberg: Artist of the “People’s Home” Maria Perers 61 A Collection of Scottish-Swedish Family Portraits Eva-Lena Karlsson 71 Acquisitions 2015: Exposé 77 exhibitions 2015 Nationalmuseum Design: A Development Project in Practice Susanne Eriksson 135 Nationalmuseum Design 2015: The First Year of Exhibitions Susanne Eriksson 139 Subjectivities: Selected Design Micael Ernstell 145 Denise Grünstein: En face Magnus Olausson 149 100 Great Paintings Per Hedström 153 Art Bulletin of Nationalmuseum Volume 22, 2015 6 contents Rodin Linda Hinners 157 Women Pioneers: Swedish Design in Between the Wars Magnus Olausson 163 articles on the history and theory of art Tessin Lecture 2015: The Living Rock Nicholas Penny 167 The Most Important Events of the Caroline Era: A Series of Allegories for Queen Hedvig Eleonora’s Drottningholm Merit Laine 181 The Nationalmuseum’s First Exhibition: On the Scandinavian Art Exposition in 1866 Eva-Lena Bergström 191 shorter notices Evert Lundquist as Dr Jekyll and Mr Hyde Emilia Ström 199 reports Analysis and Conservation of Maurice Quentin de La Tour’s Portrait of the Princesse de Rohan Cécile Gombaud 203 An 18th-Century Frame Merit Laine and Ellinor Lindeborg Moberg 209 The Friends of the Nationalmuseum Eva Qviberg 213 Staff Publications and Activities in 2015 215 7 Art Bulletin of Nationalmuseum Volume 22, 2015 Art Bulletin of Nationalmuseum Volume 22, 2015 8 foreword Foreword The Editorial Committee Art Bulletin of Nationalmuseum, Stockholm The Nationalmuseum building from represented, as is the early 19th. The ac- Swedish art has a natural place at the Na- 1866 is currently undergoing an extensive quisition of Anne Vallayer-Coster’s master- tionalmuseum. Exceptional new acquisi- programme of renovation, with reopening piece Portrait of a Violinist (1773), painted tions include Amalia Lindegren’s Study of planned for 2018. Meanwhile, the internal at the age of 28, therefore represents an a Man in Turkish Dress (1854), painted in and external activities of the Museum have important addition to the collection (see Munich (see article on p. 21), and Johan moved out and assumed partly new forms. article on p. 17). Another is the self-taught Gustaf Sandberg’s portrait of the Egypti- The public programmes entrusted to us by painter Louis Boilly’s portrait of Madame an admiral Ismaïl Gibraltar on a visit to the state are continuing during the refur- Saint-Ange Chevrier (1807). These acquisi- Stockholm. Jenny Nyström, too, was active bishment – making use of both temporary tions were made possible by the Wiros Fund on the international scene, with her large venues for exhibitions and other events, and the Hedda and N. D. Qvist Fund, res- painting The Convalescent (see article on p. and collaborative projects in Sweden and pectively. 25), which she probably submitted to the abroad. Since the summer of 2013, the Dutch and Flemish painting has long Paris Salon of 1884. While studying in the Museum’s temporary exhibitions, chiefly found a home in Sweden, and hence at the French capital she also became an accom- of pictorial art and sculpture, have found Nationalmuseum. Here, particular note may plished watercolourist, capable on occasion a home at the Royal Academy of Fine Arts be made of the acquisition of Jacques De in her youth of rivalling Anders Zorn (see (Konstakademien), together with a muse- Gheyn the Younger’s A Young Woman Mour- article on p. 31). um shop and creative activities in artists’ ning a Dead Dove, a Partridge and a Kingfisher Especially noteworthy among the acquisi- studios hallowed by centuries of use. (c. 1620), one of twenty known works by tions of sculpture is Between Two Loves (Entre The ongoing development of a new dis- that artist. The painting, which is in need of deux amours), by Auguste Rodin’s teacher play of the collections in readiness for the conservation, will at the same time be the Albert-Ernest Carrier-Belleuse. Another key expected return to the building in 2018 subject of more extensive technical studies, addition to the collection is Aimé Jules Da- remains one of the Nationalmuseum’s big- undertaken in collaboration with interna- lou’s Head of a Sleeping Baby (Buste de bébe gest challenges. On the one hand, we have a tional experts. Another significant addition endormi) (see article on p. 29). responsibility to show those areas of our hol- is the Dutch artist Thomas Willeboirts Boss- As previously reported, since 2012 the dings, both known and unknown, that make chaert’s Study of a Boy’s Head (c. 1644/45), Nationalmuseum has had a particular fo- the Museum unique. Another focus is on a preparatory study for the head of Cupid cus on acquiring works by female designers areas that need to be further strengthened. in one of the old treasures of the Museum, of the 20th century. An initial result of this For several years, therefore, a very active ac- Triumphant Cupid among Emblems of Art and campaign was the exhibition Women Pioneers: quisition effort has been under way. The lack War (see article on p. 11). Swedish Design in Between the Wars, first shown of targeted government funding for acquisi- Master drawings make up one of the at Läckö Castle in the summer of 2015 and tions means that this is only possible thanks best-known elite collections of the Muse- then at Nationalmuseum Design, at Kultur- to grants from generous donors and returns um. Despite the current high price levels, huset Stadsteatern in Stockholm, the same on the Museum’s own funds. the Nationalmuseum has managed to ac- autumn (see article on p. 163). The Nationalmuseum has in its collec- quire important works by Govert Flinck Like the female pioneers of Swedish tions a great many important works by the and an unknown master from the circle of design in the interwar years, some of the masters of world art.