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Art Bulletin of Nationalmuseum Stockholm Volume OM Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP Art Bulletin of Nationalmuseum, Stockholm, Picture Editor Every effort has been made by the publisher to is published with generous support from the Rikard Nordström credit organizations and individuals with regard Friends of the Nationalmuseum. to the supply of photographs. Please notify the Photo Credits publisher regarding corrections. The Nationalmuseum collaborates with © Herzog Anton Ulrich-Museum, Braunschweig Svenska Dagbladet, Fältman & Malmén (p. NQ ) Graphic Design and Grand Hôtel Stockholm. © The Gothenburg Museum of Art/Hossein BIGG Sehatlou (p. NU ) Items in the Acquisitions section are listed © Malmö Art Museum/Andreas Rasmusson Layout alphabetically by artists’ names, except in the case (p. OO ) Agneta Bervokk of applied arts items, which are listed in order of © Wildenstein & Co., Inc., New York (p. OV ) their inventory numbers. Measurements are in © RMN Grand Palais/Musée du Louvre, Translation and Language Editing centimetres – Height H, Breadth B, Depth D, Paris/Hervé Lewandowski (p. PMF Gabriella Berggren and Martin Naylor. Length L, Width W, and Diameter Diam. © The J. Paul Getty Museum, Los Angeles – except for those of drawings and prints, which (Fig. QI p. PN ) Publications are given in millimetres. © RMN Grand Palais/Musée du Louvre, Ingrid Lindell (Publications Manager), Paris/René-Gabriel Ojéda (Fig. RI p. PN ) Janna Herder (Editor). Cover Illustration © Guilhem Scherf (p. PO ) Alexander Roslin ( NTNU ÓNTVP ), The Artist and his © Bridgeman/Institute of Arts, Detroit (p. PP ) Art Bulletin of Nationalmuseum is published Wife Marie Suzanne Giroust Portraying Henrik © Musée des Arts décoratifs, Paris/Jean Tholance annually and contains articles on the history Wilhelm Peill, NTST . Oil on canvas, NPN ñ VUKR cm. (p. PQ ) and theory of art relating to the collections of Donated by the Friends of the Nationalmuseum, © RMN Grand Palais/Musée du Louvre, Paris the Nationalmuseum. Sophia Giesecke Fund, Axel Hirsch Fund (p. PR ) and Mr Stefan Persson and Mrs Denise Persson. © Accademia Nazionale di San Luca, Nationalmuseum Nationalmuseum, åã TNQNK Rome/Mauro Coen (Figs, SI NM and NO , Box NSNTS pp. NNQ ÓNNS ) ëÉ ÓNMP OQ Stockholm, Sweden Publisher © Mikael Traung (Fig. T, p. NNQ ) www.nationalmuseum.se Magdalena Gram © Stockholm City Museum (p. NOP ) © Nationalmuseum and the authors http://www.stockholmskallan.se/Soksida/Post/?n Editor id=319 ISSN OMMNJVOPU Janna Herder © Stockholm City Museum/Lennart af Petersens (p. NOQ ) Editorial Committee © http://www.genealogi.se/component/ Mikael Ahlund, Magdalena Gram, Janna Herder, mtree/soedermanland/eskilstuna/ Helena Kåberg and Magnus Olausson. a_zetherstroem_/22850?Itemid=604 (p. NOR ) © http://www.genealogi.se/component/ Photographs mtree/bohuslaen/marstrand/robert-dahlloefs- Natinalmuseum Photographic Studio/Linn atelier/22851?Itemid=604 (p. NOT ) Ahlgren, Erik Cornelius, Anna Danielsson, Cecilia Heisser, Bodil Karlsson, Per-Åke Persson, Sofia Persson and Hans Thorwid. ÅçåíÉåíë Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP Foreword The Editorial Committee V ~Åèìáëáíáçåë OMNP Three NT th-Century Paintings from the Collection of Gustaf Adolf Sparre Carina Fryklund NN Roslin’s Self-Portrait with his Wife Marie Suzanne Giroust Painting a Portrait of Henrik Wilhelm Peill Magnus Olausson NT Wertmüller’s Portrait of Henri Bertholet-Campan with the Dog Aline Magnus Olausson NV Heimdall Returns Brísingamen to Freyja Carl-Johan Olsson ON Cat in a Summer Meadow Carl-Johan Olsson OP ÅçåíÉåíë Une statuette en terre cuite de Jean-Baptiste Stouf au Nationalmuseum Guilhem Scherf OT Madame Lefranc Painting a Portrait of her Husband Charles Lefranc: A Miniature by Adélaïde Labille-Guiard Magnus Olausson PT A Unique Plate Warmer Anders Bengtsson PV A Chair Fit for a Prince Anders Bengtsson QN Sylvia Stave in the Nationalmuseum Micael Ernstell and Magnus Olausson QP Gifts from the Bengt Julin Fund in OMNP Micael Ernstell QT A Portrait of Gertrud Fridh as Medea, by Rolf Winquist Eva-Lena Karlsson RP Ernst Josephson: Painting Poet and Poetic Painter Magdalena Gram RR The Joy of Giving Eva Qviberg RV Acquisitions OMNP : Exposé SN ÉñÜáÄáíáçåë OMNP Carl Larsson: Friends & Enemies Per Hedström VT ÅçåíÉåíë Hans Gedda Eva-Lena Karlsson NMN Masters of Darkness Carina Fryklund NMR ~êíáÅäÉë çå íÜÉ Üáëíçêó ~åÇ íÜÉçêó çÑ ~êí An Italian Architecture Library under the Polar Star: Nicodemus Tessin the Younger’s Collection of Books and Prints Martin Olin NMV Louis Gauffier’s Portrait of Gustaf Mauritz Armfelt: A Political or a Conspiratorial Painting? Magnus Olausson NNV An Exceptionally Protracted Affair: The Nationalmuseum’s Acquisition of Sergel’s Collections of Drawings and Prints, NUTRÓNUTS Ulf Cederlöf NOP ëÜçêíÉê åçíáÅÉë A Source-Critical Comment on Roger de Robelin’s “On the provenance of Rembrandt’s The Conspiracy of the Batavians under Claudius Civilis ” Görel Cavalli-Björkman and Margaretha Rossholm-Lagerlöf NPR Response to “A Source-Critical Comment etc.” Roger de Robelin NPT êÉéçêí The Nationalmuseum Lighting Lab Helen Evans and Helena Kåberg NPV ÑçêÉïçêÇ Foreword The Editorial Committee Art Bulletin of Nationalmuseum, Stockholm qÜÉ ^êí _ìääÉíáå of Nationalmuseum, as the way forward in safeguarding the Stockholm, hitherto a printed publication, quality of the research published. has with the present volume switched to a The longer articles in this volume deal digital format. Factors behind this change with the Nationalmuseum’s acquisition of include the development of free access to Johan Tobias Sergel’s drawings and prints, scholarly information and a wish to see Nicodemus Tessin the Younger’s architec - the Bulletin’s articles disseminated more tural library and Louis Gauffier’s politically effectively. charged portrait of Gustaf Mauritz Armfelt. Competition in the world of research Alongside these topics, a series of interest - has increased, and both “sector-based” re - ing new acquisitions are reported and com - search and state-funded research in the hu - mented on, together with three of the Mu - manities are coming under growing scruti - seum’s exhibitions. Other contributions in - ny. The discussion within RIHA, the Inter - clude a report on work in the Nationalmu - national Association of Research Institutes seum’s light laboratory. in the History of Art, of which the National - The last-mentioned report is an exam - museum is a member, suggests that this is a ple of the dialogue that is so important in a phenomenon seen throughout the West - museum setting between curators and con - ern world. On the other hand, it has been servators, and between art history and con - said that the best time for the humanities is servation science. In recent times, the inter - now – a globalised society requires under - disciplinary field of technical art history has standing of languages, communication and paved the way for closer ties between theo - complex reflection – and it can also be ar - retical university research and object-based gued that art history has its own particular research in museums. The Bulletin’s editori - mission in that context. al committee welcome the results of this Research in museums is strongly trend, which have already made themselves linked to the collections held there and felt in the Museum’s research. the materiality of the objects they contain. This twentieth volume of the Art Bul - That being so, it should be able to hold its letin retains the graphic design of the own in the broader research community. print publication. The editorial team are Like many other international art muse - looking ahead and thinking of the Bulletin ums, the Nationalmuseum has a long tra - more and more as part of the Museum’s dition of research and, for twenty years, future website. In terms of content, this the Art Bulletin has been an important volume reflects the Bulletin’s increasingly channel of communication in that connec - focused approach as a scholarly publica - tion. Quality assurance of its contents has tion in which critical voices, too, are per - been progressively developed, and peer re - mitted to be heard. view of articles is seen by the editorial team V Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP ~ÅèìáëáíáçåëLíÜêÉÉ NTíÜJÅÉåíìêó é~áåíáåÖë Three NT th-Century Paintings from the Collection of Gustaf Adolf Sparre Carina Fryklund Curator, Old Master Drawings and Paintings qÜÉ k~íáçå~äãìëÉìã has acquired three important Flemish and Dutch cabi - net pictures from the former collection of Count Gustaf Adolf Sparre ( NTQSÓNTVQ ): two genre scenes in a smaller format by David Teniers the Younger (Fig. N) and Jacob Toorenvliet (Fig. O), and a landscape by Gijsbrecht Leytens (Fig. P). All three paintings are in their collector’s distinctive carved and gilded wood frames in Neoclassi - cal Gustavian style, in two standard designs. Gustaf Adolf Sparre af Söfdeborg (Fig. R) was heir to one of Sweden’s wealthiest 1 merchant families. Born on S January NTQS , he was the son of Rutger Axel Sparre, a director of the Swedish East India Com - pany. His mother, Sara Christina Sahlgren, was from a prominent and cultured Gothenburg family of merchants. Their marriage in NTQM brought an influx of wealth to the Sparre dynasty. Following the fire which in winter NTQS , a week after Gustaf Adolf’s birth, destroyed the original Sahlgren house in Gothenburg, Sara’s mother Birgitta Sahlgren commissioned Bengt Wilhelm Carlberg ( NSVSÓNTTU ), the city’s leading
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    Konstvetenskapliga institutionen Portraits of Sculptors in Modernism Författare: Olga Grinchtein © Handledare: Karin Wahlberg Liljeström Påbyggnadskurs (C) i konstvetenskap Vårterminen 2021 ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Olga Grinchtein Titel och undertitel: Portraits of Sculptors in Modernism Engelsk titel: Portraits of Sculptors in Modernism Handledare Karin Wahlberg Liljeström Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2021 The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors. 2 Acknowledgements I would like to thank my supervisor Karin Wahlberg Liljeström for her help and advice. I also thank Linda Hinners for providing information about Annie Bergman’s portrait of Gertrud Linnea Sprinchorn. I would like to thank my mother for supporting my interest in art history. 3 Table of Contents 1. Introduction .......................................................................................................................
  • Art Bulletin of Nationalmuseum Stockholm Volume 26:1

    Art Bulletin of Nationalmuseum Stockholm Volume 26:1

    Portraits and Dining Services from the Grill Family Eva-Lena Karlsson, Curator, Collections and Swedish National Portrait Gallery Micael Ernstell, Curator, Applied Art and Design Art Bulletin of Nationalmuseum Stockholm Volume 26:1 Art Bulletin of Nationalmuseum, Stockholm, © Copyright Musei di Strada Nuova, Genova Martin van Meytens’s Portrait of Johann is published with generous support from the (Fig. 4, p. 17) Michael von Grosser: The Business of Nobility Friends of the Nationalmuseum. © National Gallery of Art, Washington D.C. Open © Österreichisches Staatsarchiv 2020 (Fig. 2, Access image download (Fig. 5, p. 17) p. 92) Nationalmuseum collaborates with Svenska Henri Toutin’s Portrait of Anne of Austria. A © Robert Wellington, Canberra (Fig. 5, p. 95) Dagbladet, Bank of America Merrill Lynch, New Acquisition from the Infancy of Enamel © Wien Museum, Vienna, Peter Kainz (Fig. 7, Grand Hôtel Stockholm, The Wineagency and the Portraiture p. 97) Friends of the Nationalmuseum. © Rijksmuseum, Amsterdam/Public Domain (Fig. 2, p. 20) Graphic Design Cover Illustration © Christies, 2018 (Fig. 3, p. 20) BIGG Daniel Seghers (1590–1661) and Erasmus © The Royal Armoury, Helena Bonnevier/ Quellinus the Younger (1607–1678), Flower CC-BY-SA (Fig. 5, p. 21) Layout Garland with the Standing Virgin and Child, c. Four 18th-Century French Draughtsmen Agneta Bervokk 1645–50. Oil on copper, 85.5 x 61.5 cm. Purchase: © The Metropolitan Museum of Art, New York, Wiros Fund. Nationalmuseum, NM 7505. NY/Public Domain (Fig. 7, p. 35) Translation and Language Editing François-André Vincent and Johan Tobias Clare Barnes and Martin Naylor Publisher Sergel. On a New Acquisition – Alcibiades Being Susanna Pettersson, Director General.