THE OBJECT BIOGRAPHY OF BREAKFAST-PIECE BY NICOLAES GILLIS

The Reception of Netherlandish Art in Sweden During the 19th Century

Filippa Kenne

Department of Culture and Aesthetics, Stockholm University

VT20

ABSTRACT

Department: Department of Culture and Aesthetics,

Stockholm University, Art history

Address: 106 91 Stockholm University

Supervisor: Sabrina Norlander Eliasson

Title and subtitle: The Object Biography of Breakfast-Piece by Nicolaes Gillis: The Reception of Netherlandish Art in Sweden During the 19th Century

Author: Filippa Kenne

Author’s contact information: Tjurbergsgatan 34, 118 56 Stockholm

filippa.kenne@gmail.com

Essay Level: Master’s Thesis

Ventilation semester: VT 2020

The aim of the thesis is to study the Swedish provenance of Breakfast-Piece, a still life in the Stockholm University art collection, as well as to examine the presence of Netherlandish art in the late 19th century Swedish private collections. The painting was purchased to the university collection from Rapps Konsthandel in 1957. The previous known provenance of Breakfast-Piece could be traced back to the von Schinkel collection at Tidö Castle. An estate inventory of Carl von Schinkel, made in 1913, showed this known provenance. A photograph from Tidö Castle during the turn of the 20th century illustrate how the painting was on display in the castle’s gallery. Nevertheless, the estate inventory describes a previous owner of the painting, which was unknown to us, the Löwenhielm collection. Through auction and exhibition catalogues, as well as the catalogues of private collectors, the presence of Netherlandish painting is examined. The supply for Netherlandish art in the auction houses were plentiful during the period, and the private Swedish collections show an abundance of the art. Key words: Nicolaes Gillis, Breakfast-Piece, Tidö Castle, von Schinkel, Löwenhielm collection, provenance, collection history, Netherlandish painting

CONTENTS INTRODUCTION 1 Aim of study 2 Theoretical perspectives 2 Material 4 Method 5 Previous research 5 Disposition 7 Delimitations 8 BREAKFAST-PIECE IN THE STOCKHOLM UNIVERSITY ART COLLECTION 9 THE BACK OF BREAKFAST-PIECE AND PROVENANCE TRACES 10 The monogram and coronet 11 THE ART COLLECTION AT TIDÖ 13 Breakfast-Piece on display at Tidö 13 Estate inventory 15 BREAKFAST-PIECE IN THE VON SCHINKEL COLLECTION 18 The Löwenhielm auction 19 The Löwenhielm collection 20 PRESENCE OF NETHERLANDISH ART IN SWEDISH COLLECTIONS 22 The supply of Netherlandish art 22 Swedish private collectors 24 Exhibiting Netherlandish art 25 A specific taste? 27 SUMMARY 28 BIBLIOGRAPHY 30 LIST OF IMAGES 37

1

INTRODUCTION

The following thesis is a continuation of a previous study by the author, Breakfast-Piece by Nicolaes Gillis: A Comparative Study of Material Perspectives, 2020. The previous thesis explored the material characteristics Breakfast-Piece, see fig. 1, and studied the painting in the context of Netherlandish 17th century still life painting. The still life, attributed to the Netherlandish17th century artist Nicolaes Gillis, have been part of the Stockholm University art collection since the mid 20th century, and is situated at the Scheffler Palace in Stockholm. During the material investigation of the painting, questions about the painting’s history were raised. As we got a deeper material knowledge of the painting, our understanding of the painting’s attribution and origin were challenged, as scholars had different ideas of who the artist behind the painting was. With the questionable attribution, the early history of the painting was impugned. Based on the limitations that the previous thesis had, we had come to a kind of cul-de-sac for further material investigations of the painting. Supplementary methods, which the thesis did not have an opportunity to execute, would be needed for a further comprehensive material analysis of the painting. Additionally, technical studies of other works by Gillis would be needed for a further comparison of painting technique. The most evident approach to conduct further research on Breakfast-Piece was to turn to historical evidences. The following thesis will therefore not emphasise the material aspects of the painting. Instead, the painting’s Swedish provenance will be studied. The present thesis aspires to begin the investigation of Breakfast-Piece’s object biography, and to examine the painting’s afterlife in Swedish collections. We do have some information about the painting’s provenance before it came to the university art collection, as the painting was at in the von Schinkel collection at Tidö Castle before 1957. The thesis therefore takes a stance out of this known provenance. The research on Swedish collections during the turn of the 20th century is a topic that has a lot of potential to be more thoroughly examined by scholars. The historical material on the theme is rich, as archival records, exhibition and auction catalogues from the 19th century is easily accessible and available in abundance. The more well-known private Swedish collectors during the period are quite well described in literature. There are, nevertheless, only a few monographs on Swedish private collectors from the period. However, the following thesis takes a stance out of a rather unknown collector. Investigating the provenance of Breakfast-Piece has been as challenging as inspiring. The following study has been a revelation for the author that private Swedish collections during the 19th century were culturally rich, and that one sometimes disregards what is close to home.

2

Aim of study The thesis takes a stance out of Breakfast-Piece, a still life painting in the Stockholm University art collection. The catalogue of the university’s art collection states that the painting was purchased from Rapps Konsthandel to the university in 1957, and that the painting previously has been owned by the von Schinkel family at Tidö Castle. However, it is not known when the painting entered and left the Tidö collection or which collections the painting has been in earlier. The aim of the study is to trace the Swedish provenance of Breakfast-Piece, before the painting came to the Stockholm University art collection in 1957. The thesis also aims to examine the presence of Netherlandish art in late 19th century Swedish private collections. For an understanding of the collectors’ perception of Netherlandish art, collection practices and contexts are studied. Through examining the afterlife of Breakfast-Piece as an example of 19th century Swedish collecting, collection practices of the period can be studied as questions of how and when the painting was accumulated are raised. The thesis is studying how private Swedish collectors at the time accumulated Netherlandish art, and how the notion of taste was part of this collection practice. Theoretical perspectives Connected with the painting’s afterlife in Swedish collections are the collectors which have owned the painting, and their acquisitions of the artwork. The thesis will therefore highlight theoretical perspectives concerning provenance research and collection history. The thesis is primarily using art historian Gail Feigenbaum and collection historian Inge Resit’s analysis of provenance research, Provenance. An alternate History of Art, 2012, as a guide for how to conduct provenance research. Provenance have historically been of special interest for the art market, the authors state. However, in the last couple of years, provenance research has been applied onto art works with a problematic history, as looted art, where questions of legitimate ownership have been raised. Nonetheless, Feigenbaum and Reist offers new approaches to provenance research, such as investigating the transformative power of ownership, the historical use of provenance, as well as the relationship between the owner and the artwork.1 Provenance research suggests an alternative way for describing history of art, Feigenbaum and Reist declares.2 Provenance mean more than just listing previous owners and auctions, as provenance might contribute to fundamental art historical knowledge.3 Provenance research touches upon ideas about taste, status and value. However, what is most important to the

1 G. Feigenbaum and I. Reist, ‘Introduction’, in G. Feigenbaum and I. Reist (eds.), Provenance. An alternate History of Art, Los Angeles, Getty Research Institute, 2012, pp. 1-2. 2 Feigenbaum and Reist, Provenance. (“Introduction”, para. 1). 3 Feigenbaum and Reist, (“Introduction”, para. 2).

3

thesis is not to study the monetary value of Breakfast-Piece over time. The thesis is using provenance research as a method for writing Breakfast-Piece’s object biography, and to study the painting’s afterlife in Swedish collections. To recognise the object’s afterlife, identifying why and how the painting have been accumulated as well as to study the collectors that have owned the painting is of importance. Theories about reception turn to the beholder, or the collector, rather than the artwork itself. Art historian Wolfgang Kemp describes the importance to follow the historical context of an artwork, and the process of a change in context of a work of art.4 For an understanding of the collection practices of von Schinkel and other private Swedish collectors’ understanding of Netherlandish art at the time, collection history and taste will be studied in the thesis, which can be examined through what Kemp describes as reception histories. Kemp defines reception histories as divided into branches of reception.5 One of the more important characteristics relating to collecting is taste. Studying written sources, Kemp describes, can reveal insights of taste of a given time and place. However, no comprehensive art-historical research can be conducted only through literary sources, Kemp states, as there are only a few numbers of artworks with sufficient comprehensive literary sources.6 Collection history is another important topic for the thesis to take into account. Feigenbaum and Reist states how provenance research is especially relevant to collecting history, as collections can be recreated and interpreted.7 Collection history and collecting practices are linked with histories of museums, exhibitions and trade, as well as how people have placed and presented works of art. Additionally, collection history is also connected to institutionalised behaviour towards art works, Kemp declares.8 Eva Schulz, from the Landesmuseum Mainz, states that collections have been amassed since the 16th century, with the aim of communicating information through a methodical arrangement of objects.9 Several different orientations in collection history have been studied by scholars, as the psychological, political and economic aspects of collecting.10 Susan M. Pearce, professor in Museum Studies, disclose that there are three broader areas of studies in collecting history – studying collection policies, studying the history of collections and collecting practices from the ancient world until today, and studying the collectors

4 W. Kemp, ‘The Work of Art and Its Beholder’, in M. A. Cheetham (ed.), The subjects of art history: historical objects in contemporary perspectives, Cambridge, Cambridge University Press, 1998, p. 185. 5 Kemp, The subjects of art history, pp. 181-182. 6 Kemp, p. 182. 7 Feigenbaum and Reist, p. 1. 8 Kemp, p. 182. 9 E. Schulz, ‘Notes on the history of collecting and of museums’, in S. M. Pearce (ed.), Interpreting Objects and Collections, London, Routledge, 1994, p. 175. 10 See S. M. Pearce, On Collecting. An investigation into collection in the European tradition, London, Routledge, 1995.

4

themselves, disclosing why they collect.11 Pearce emphasises that principles of organisation and the selection of objects are central for an understanding of collection practices.12 Material The thesis is based on two types of primary material, the back of Breakfast-Piece and archival records. The back of the painting’s panel holds several different labels and marks which’s origin are unknown. Marks and labels on paintings are a display of ownership, which the thesis is studying for further information about the provenance. The study also takes a stance out of the archival records concerning the earliest known owner, the von Schinkel family at Tidö Castle. The Tidö records are divided into two archives at the National Archives of Sweden, Riksarkivet, the Tidö gårds arkiv and Tidöarkivet. Tidöarkivet’s records stretches from the 16th century to the 20th century, and the Tidö gårds arkiv from 1817 and onwards. However, the von Schinkel family, that have owned Tidö since 1887, does not have a personal record in neither of the archives as many of the other families that have owned Tidö has. Neither does the von Schinkel family have any other personal archive that the author is aware of or has access to. Instead, material concerning the von Schinkel family and the painting is to be found in other archives. This evidently complicates the search for archival records and material relevant to the study. The thesis is studying four estate inventories. All four inventories are from the National Archives of Sweden. The estate inventories of Carl von Schinkel, made in 1913, Gustaf Löwenhielm, from 1857, and Carl Gustaf Löwenhielm, made in 1858, are part of the archive from the Svea Court of Appeal, Svea Hovrätt, that hold estate inventories of Swedish nobilities between 1736 and 1916. The study of von Schinkel’s art collection at Tidö is primarily based on an estate inventory made after Carl von Schinkel’s death in 1913. The estate inventory provides the thesis two important records, a list of the art collection at Tidö made in 1913, as well as a list of the art collection made in 1897. David von Schinkel’s estate inventory, from 1933, is also studied in the thesis. The estate inventory is part of the Archives in Uppsala, Landsarkivet i Uppsala. A selection of journal articles, exhibition catalogues and auction catalogues from the turn of the 20th century provide the thesis with references from collectors and art dealers of the period.13

11 S. M. Pearce, ‘Collecting reconsidered’, in S. M. Pearce (ed.), Interpreting Objects and Collections, London, Routledge, 1994, pp. 195-196. 12 Pearce, Interpreting Objects and Collections, p. 201. 13 The catalogues presented in the thesis have been chosen by the author since they contain Netherlandish art. Wort mentioning, however, is that the majority of catalogues that the author has gone through have contained Netherlandish art. The catalogues that are not presented in the thesis are the catalogues that did not contain any paintings, but, for instance, coins or medals.

5

Method Since little is written about the von Schinkel family’s art collection the art at Tidö, the study is contextualising the presence of Netherlandish art through other Swedish private collectors during the turn of the 20th century. The collection practices of other collectors are studied through auction catalogues, exhibition catalogues, as well as through catalogues of specific private collections. The supply for Netherlandish art in Sweden during the time is studied through a selection of auction catalogues from Bukowskis. Auction catalogues reveal to what extent Netherlandish art could be acquired by the collectors. Catalogues of private collections, such as the Hallwyl collection and the Berg collection, examines the quantity of Netherlandish art in Swedish collections. The catalogues of private collections also disclose how the collectors acquired Netherlandish art. Exhibition catalogues are studied to reveal how Netherlandish art was exhibited in Sweden during the period. However, the catalogues also indicate if collectors had a taste for Netherlandish art, as well as the genre’s status among collectors, galleries and the art market. Previous research There are several different orientations in provenance studies. One of the more extensive and analytical texts on the topic is the previously mentioned Feigenbaum and Reist book from 2012. The book serves as a guide for how to interpret and decipher marks and signs on artworks, as well as describing how provenance affects our understanding on artworks.14 How provenance research is connected to the art market is central in many of the texts on provenance, where the monetary value of the art object is in focus. Using provenance research as a tool for sorting out problematic histories, as Nazi looted art, is another topic which is frequently discussed. Art historians Olivia Sladen, 2010, and Johannes Gramlich’s, 2017, texts emphasise the importance of provenance research as well as discussing provenance forgery.15 Even though these articles does not touch upon the same topics as the present thesis, Sladen and Gramlich’s texts serve as useful tools for and understanding of how provenance research can be conducted. Collection practices during the 19th century in Sweden, and the accumulation and presence of Netherlandish art during the period is examined and contextualised through the more famous Swedish collectors at the time. A 1988 publication of Konsthistorisk tidskrift emphasises patronage and collecting from a Nordic viewpoint. The journal provides the thesis

14 See G. Feigenbaum and I. Reist, Provenance. An alternate History of Art. 15 O. Sladen, ‘Faking History: How Provenance Forgery is Conning the Art World’, Journal of Art Crime, vol. 3, 2010, pp. 47-60, and J. Gramlich, ‘Reflections on Provenance Research: Values – Politics – Art Markets’, Journal for Art Market Studies, vol. 2, 2017, pp. 1-14.

6

several articles on 19th century collectors who accumulated Netherlandish art, and a view on how and why such collecting took place. European collection history is a topic well studied by scholars, both in the aspects of private collectors as well as the collecting of museums. Some international perspectives on the reception and the collecting of Netherlandish art has been given by scholars. Art historian Anne Meadows describes the collecting of 17th century Netherlandish painting in England during the 17th and 18th century, examining sales catalogues and the import of Netherlandish paintings. Meadows’ dissertation provides the present thesis an important view on collection practices and how historical material can be interpreted.16 Art historian Harry Thomas Mount’s dissertation The Reception of Dutch Genre Painting in England, 1695-1829, 1991, is providing the thesis an understanding of the general, however changing view of Netherlandish art in England. Additionally, Mount’s text provides an example of how to apply reception theories on older sources.17 However, Meadows and Mount’s texts are analysing collection practices and reception from an English standpoint, as well as collections from an earlier period than the present thesis. The history of Tidö Castle, the construction of the castle, its architecture and its owners, is quite well written about in literature. The texts describing Tidö Castle’s history is mostly from the early 20th century. Art historian Gustaf Upmark’s article “Ett par Västmanländska slott”, 1918, as well as an entry on Tidö in Nordisk Familjebok, 1919, briefly describes the history of the castle, however emphasizing architecture rather than art.18,19 The art collections at Tidö over time is hardly mentioned in the texts the author has found regarding the castle. The author has found two texts concerning the collection from the time von Schinkel family has owned Tidö. Art historian August Hahr’s chapter in Svenska Slott och Herresäten vid 1900-talets början. Västmanland, 1910, might be the most extensive text on Tidö and its history. Hahr is describing, briefly yet importantly, the art collection at Tidö room by room, mentioning artists and settings.20 The illustrated magazine Hvar 8 dag is describing the art collection at Tidö after the death of Carl von Schinkel in 1913. This very short entry explains to some extent how art has been collected at Tidö under the supervision of von Schinkel.21 The only text the author has found concerning the art collecting at Tidö before the 19th century is art historian Carl G. Laurin’s description of Tidö in Konsten i Sverige, 1915. Laurin

16 A. Meadows, ‘Collecting seventeenth-century Dutch painting in England 1689-1760’, PhD Thesis, University College London, 1988. Avaliable from: University College London (accessed 2020-04-03). 17 H. T. Mount, ‘The Reception of Dutch Genre Painting in England, 1695-1829’, PhD Thesis, University of Cambridge, 1991. Avaliable from: University of Cambridge, (accessed 2020-04-01). 18 G. Upmark, ’Ett par Västmanländska slott’, in E. Boheman (ed.), Svenska Turistföreningens årsskrift, Stockholm, Wahlström & Widstrand, 1918. Avaliable from: Projekt Runeberg, (accessed 2020-04-02). 19 ’Tidö’, in T. Westrin (ed.), Nordisk familjebok. Tidsekvation-Trompe, 29th edn, Stockholm, Nordisk familjeboks förl., 1919. Avaliable from: Projekt Runeberg, (accessed 2020-03-25). 20 A. Hahr, ’Tidö: Rytterne socken, Snäfringe härad, Västmanlands län’, in A. Roosval (ed.), Svenska slott och herresäten vid 1900-talets början. Västmanland, Stockholm, Lundquist, 1910. 21 B. Silfversparre, ’Ett Oxenstjerna-slott’, Hvar 8 dag, No. 24, 16 March 1913, p. 382. Avaliable from: Projekt Runeberg, (accessed 2020-04-02).

7

briefly describes that when Axel Oxenstierna built Tidö, the “best” art went to the royal castle in Stockholm.22 Accordingly, the author has not found a text entirely dedicated to the art at Tidö over the centuries. The topics which the thesis is touching upon have not been described in detail in literature, as have been emphasised when declaring the state of research. The collection practices of von Schinkel have not been descried in detail in literature, except for the mentioned, short articles. Neither has the collection practices of von Schinkel’s Swedish contemporaries been described thoroughly, besides in a few exceptions of the more well-known collectors. Additionally, the presence of Netherlandish art in Sweden during the turn of the 20th century a topic that is not well described. As there almost is not any no recent literature published on the topics which the thesis is touching upon, sources from the turn of the 20th century are essential in the thesis for an understanding of collection practices from the period. The sources themselves also serve as an evidence of the interest in Netherlandish art during the period. As was discussed under material and method, exhibition catalogues and auction catalogues serve as testimonies of if and how Swedish private collectors acquired Netherlandish art. The relevance of the thesis relates to the lack of research of the topics described – Swedish collection history during the 19th century, as well as the collecting of Netherlandish art during the period in Sweden. The thesis will hopefully contribute to further knowledge about the von Schinkel family as art collectors, as well as providing information about the art collection at Tidö during the turn of the 20th century. Besides information of one specific art collector, will the study hopefully also offer information concerning Swedish private collectors during the turn of the 20th century and their collection practices. Furthermore, the thesis will also contribute to the knowledge of the presence of Netherlandish art in private Swedish collections at the time, as well as an understanding of the collectors’ appreciation of the art during the studied period. Disposition The five chapters following the introduction are intended as a presentation of the material that the thesis is studying. The first chapter offers the reader a brief background of Breakfast-Piece in the Stockholm University art collection. The chapter describes the purchase of the painting to the university’s art collection. The second chapter examines the notes and signs on the back of Breakfast-Piece. Each mark on the back of the panel is studied, as these marks describes the different collections that the painting has been in.

22 C. G. Laurin, Konsten i Sverige, Stockholm, Iduns Tryckeri-A.B., 1915, p. 27. Avaliable from: Projekt Runeberg, (accessed 2020-03-25).

8

The third chapter is investigating the von Schinkel art collection at Tidö during the turn of the 20th century. The chapter is primarily based on documentation from the period, as well as an estate inventory made after Carl von Schinkel’s death in 1913. The following chapter is studying Breakfast-Piece in the von Schinkel collection. As the previous chapter, the study is mainly based on the 1913 estate inventory. The chapter also traces the painting to collections prior to von Schinkel, where an auction catalogue from 1857 serve as an important evidence for this tracing. The last chapter of the thesis is examining the presence of Netherlandish art in private Swedish collections during the turn of the 20th century. The presented and studied material in the chapter is based on sources from the period, as auction catalogues and exhibition catalogues, for an understanding of if, how and why Swedish collectors at the time acquired Netherlandish art. The thesis ends with a summary, where suggestions for further research on the studied topics also are given. Delimitations The thesis delimits to study archival records that concern the von Schinkel family and the Löwenhielm family due to the length of the study. A longer thesis would have conducted a thorough study of additional archival records, for example additional archival records from well-known collectors during the late 19th century. The author of the thesis did not have access to archival records from Stockholm University, since no systematic archive of the records have been created. If such access were possible, a more detailed study of the acquisition to the Stockholm University could perhaps have been conducted. Due to the length of the thesis, the thesis is limited to study only a selection of auction catalogues and exhibition catalogues from the turn of the 20th century. A comprehensive study of catalogues could have brought new perspectives on the art market during the period, emphasising if a change in the perception of Netherlandish art in Sweden is observable over time.

9

BREAKFAST-PIECE IN THE STOCKHOLM UNIVERSITY ART COLLECTION

The information about Breakfast-Piece and its presence in the Stockholm University art collection is based on art historian Sten Karling’s catalogue of the collection from 1978. Since the university does not have an archive accessible for the author, there is not much information about when and how the painting came to the university collection. Yet, Karling states that Breakfast-Piece was purchased from Rapps Konsthandel to the university 1957.23 It is clear when studying auction catalogues from Rapps Konsthandel from the mid 20th century that many auctions contained Netherlandish art, and that a majority of the Netherlandish art was from the 17th century. Additionally, many still lifes are listed in the catalogues, and separate auctions and exhibitions entirely devoted to Netherlandish 17th century still lifes was held.24 However, Breakfast-Piece is not represented in any of the exhibitions or auctions at Rapps Konsthandel that the author has found. Karling describes how a fire at the Scheffler palace in 1956 destroyed 17 paintings. With the insurance money, new art works were purchased to replace the loss of the destroyed works, acquisitions that Karling states were made under favourable economic conditions. Breakfast-Piece was one of the eight paintings that were purchased after the fire. Breakfast-Piece was therefore purchased under the supervision of Karling, as Karling was responsible for the university’s art collection during the time of the purchase.25 However, several questions about the acquisition of Breakfast-Piece to Stockholm University remains. An important aspect in the afterlife of Breakfast-Piece is the question when the painting left the von Schinkel collection and came to the Rapps Konsthandel. David von Schinkel, 1869-1932, appears to be the person Karling describes as “Chamberlain David von Schinkel, Tidö”, the earliest known owner of Breakfast-Piece.26 The estate inventory made after David von Schinkel death, 1933, describes “konstföremål och antikviteter å Tidö”, artworks and antiquities at Tidö.27 Nevertheless, no further description of these artworks is given in the inventory. It is, however, likely that Breakfast-Piece was sold after David von Schinkel’s death. The question of when Breakfast-Piece left the Tidö collection still remains.

23 S. Karling, The Stockholm university collection of paintings: catalogue, Stockholm, University of Stockholm, 1978, p. 113. 24 See for example Gamla nederländska mästare: Utställning i Rapps Konsthandel, Hösten 1948, Stockholm, Rapps Konsthandel, 1948, Holländskt och Flamländskt måleri från 1500- och 1600-talen, Stockholm, Klara civiltryckeri AB, 1952, Stilleben från 1600-talet, utställning i Rapps Konsthandel, Stockholm, Rapps Konsthandel,1953, and Nederländskt 1600-tals måleri: Utställning Norrköpings Museum, Stockholm, Rapps Konsthandel, 1955. 25 Karling, The Stockholm university collection of paintings, p. 18. 26 Karling, p. 113. 27 Riksarkivet (hereinafter refered to as RA), Landsarkivet i Uppsala, Snevringe häradsrätt, 1933, Nr. 83, Bouppteckningar.

10

THE BACK OF BREAKFAST-PIECE AND PROVENANCE TRACES

The back of the panel displays several marks, numbers and notes, as well as traces of notes that have been removed, see fig. 2. Feigenbaum explains how marks on paintings are important for the collectors, and how scholars can interpret them. Most importantly, Feigenbaum states, marks on paintings display ownership.28 Marks were regularly put on paintings when they entered a state or royal collection, as well as when collections were moved or reinstalled.29 Inventory numbers, Feigenbaum explains, are a tool for handling property, as well as demonstrating that the painting is part of a specific collection. Identifying inventory numbers is a way of connecting the object and the history of ownership.30 Traces of six or seven notes that have been removed are visible on the back of the panel, as remains of paper and traces of old glue is visible under ultraviolet light, see fig. 3. This does not, however, indicate six or seven separate collections. For instance, there are three different notes and marks stating that the painting is part the Stockholm University collection. Five different inventory numbers can be detected on the panel’s back:

• 282

• 8

• 10

• 104

• 11345/KDDD The inventory number 282, see fig. 4, is mostly likely from the Stockholm University art collection, as Breakfast-Piece has the same inventory number in Karling’s catalogue.31 As mentioned earlier, there are three different marks explaining that the painting is a part of the university collection, see fig. 5 and 6. To the left-hand side of the panel, “Tidö” and the number eight is written in chalk, see fig. 7. The two marks are most likely connected. The following chapters will investigate the von Schinkel collection at Tidö, and the Tidö inventory number will be examined. There is one inventory number which the author has not been able to identify – the “Nro. 10”, see fig. 8. There is a possibility that the inventory number originates from a collection prior to the von Schinkel collection, or a previous inventory number of the von Schinkel collection.

28 Feigenbaum, ’Manifest provenance’, in G. Feigenbaum and I. Reist (eds.), Provenance. An alternate History of Art, Los Angeles, Getty Research Institute, 2012, p. 8. 29 Feigenbaum, Provenance, p. 17. 30 Feigenbaum, p. 18. 31 Karling, p. 112.

11

The note reading “11345/KDDD”, see fig. 9, appear to come from Rapps Konsthandel. The majority of the paintings with a provenance from Rapps Konsthandel that the author has come across have similar, handwritten notes. However, two paintings bought and sold by Rapps Konsthandel have notes very similar to the note on Breakfast-Piece, see one of them in fig. 10. These similar notes from Rapps Konsthandel written with a typewriter, have five numbers followed by a few letters. It is however uncertain what “KDDD” stands for. The author has not found any other paintings sold by Rapps Konsthandel with the same letters. Additionally, the notes written with a typewriter that the author has come across from Rapps Konsthandel have different combinations of numbers and letters. “104”, see fig. 11, is written in chalk to the left of the panel. “104” is followed by some letters and what could be a possible supplementary number. It is reasonable that all marks written in chalk, the “104”, “Tidö”, the “8” and the letters, are marks from Tidö since these marks are grouped together on the panel. 104 might therefore be another, or previous, inventory number from Tidö. The text that follows the “104” is however difficult to decipher. The text can be read as “yur Å N/2 8”, or “ymr Å N/2 8”. The eight that follows in the text might relate to the eight that is written next to “Tidö”. The text and the numbers could describe another inventory number from Tidö or be the inventory number from a collector prior to the von Schinkel family. The number and letters could possibly also describe where Breakfast-Piece was displayed at Tidö, or perhaps be details of a purchase. The monogram and coronet A note with a monogram and a coronet, see fig. 12, is also visible on the back of the panel. Feigenbaum explains how heraldry frequently was used during the early modern period in Europe to display ownership, commonly appearing in books and manuscripts. Identifying coat of arms can reveal the patron or the recipient of the artwork.32 The monogram can be read as “GL”, and the coronet does resemble those of barons and counts from Europe. The coronet does not, however, have any great similarities with any crown from Sweden. No similar monogram or coronet has been found by the author. The author has been in contact with three heraldic researchers, asking for their interpretation of the monogram and the crown. Genealogist and heraldic researcher John J. Tunesi of Liongam states in an email to the author that “As I say, it is more likely to be the coronet of a count or countess hailing from outside Scandinavia. […] The only clue is the coronet which looks like that of Continental European count or countess.”33 Tunesi of Liongam’s statement therefore opens up the possibility that the note represents a collector from outside of Sweden. However, Tunesi of Liongam could not identify the monogram and coronet with certainty.

32 Feigenbaum, p. 8. 33 J. J. Tunesi of Liongam, [email to F. Kenne], 2020-04-16.

12

Göran Mörner, chief genealogist at the House of Nobility in Stockholm, says in an email to the author that that:

Rangkronan ser tysk ut i sitt utförande. Men det behöver inte betyda att monogrammet hör till en tysk ätt. Någon kan ha använts sig utav den klichén bara. […] Jag ser det som möjligt att initialerna är GU och inte GL.34

Mörner states that the crown appears German in its execution. However, that does not mean that the monogram belongs to a German family, as someone could have used it as a cliché. Mörner also states that there is a possibility that the initials read ”GU”, and not ”GL”.35 Heraldic researcher Jesper Wasling declares that:

Kronan tillhör en kontinental greve från antingen Frankrike/Belgien eller Tyskland/Österrike. Grevarna i dessa båda områden har båda kronor med nio synliga stavar toppade med en pärla. De tyska tenderar att ha en vågrät kronring medan fransmännen, liksom britterna, böjer sin krona som de har gjort här. […] Å andra sidan verkar monogrammet vara gjort i frakturstil och det var ju populärare i Tyskland. En sån här krona finns varken i Nederländerna eller Skandinavien, men i Ryssland fast det verkar osannolikt här.36

Wasling, states that the coronet belongs to a count from either France or Belgium, or German or Austria. French and British counts, Wasling describes, tend to have a curved crown, while the Germans tend to have a horizontal crown. However, the monogram is done in a fraktur style, which was more popular in Germany. The coronet could hail from Russia, which Wasling however thinks is unlikely.37 In an email to the author, Wasling adds that the monogram replaced the crest during the second half of the 18th century in Scandinavia, and if the case was similar in southern Europe, we might have an indication of the date.38 All three researchers seem to have difficulties identifying the coronet and placing it in a context. From what Tunesi of Liongam, Mörner and Wasling states, it appears that the monogram and coronet belongs to count or countess outside Scandinavia. There is however a possibility that, as Mörner states, the coronet is used as a cliché. The study of the traces on the back of Breakfast-Piece’s panel confirms what is already established about the painting’s previous provenance. The traces from Stockholm University and Tidö are clear, as well as the note that most likely comes from Rapps Konsthandel. However, the question still remains which collector the “Nro. 10” note, as well as the monogram and coronet belonged to.

34 G. Mörner, [email to F. Kenne], 2020-04-16. 35 Mörner, [email to F. Kenne], 2020-04-16. 36 J. Wasling, [email to F. Kenne], 2020-04-16. 37 Wasling, [mail to F. Kenne], 2020-04-16. 38 Wasling, [mail to F. Kenne], 2020-04-16.

13

THE ART COLLECTION AT TIDÖ The oldest building at Tidö Castle, the so-called Oldenburg, was probably built in the end of the 15th century. The present building was constructed by Axel Oxenstierna between 1625-1645.39 Tidö was held by the Oxenstierna family until 1840, then held by a number of families, as Soop af Limingo, Dohna,40 Ridderstople, Kantzow, and Hagdahl.41 Carl von Schinkel, 1839-1913, bought Tidö in 1887.42 The von Schinkel family still owns Tidö, as it is a part of the von Schinkel entitled estate.43 As was mentioned earlier in the thesis, Karling states how the provenance of Breakfast-Piece is can be traced back to “Chamberlain David von Schinkel, Tidö Castle”.44 David von Schinkel was a chamberlain and the manager of Tidö Castle between 1897-1913.45 As have been emphasised in a previous chapter, Karling’s listed provenance does not give us any further information of Breakfast-Piece at Tidö, such as when the painting entered or left the collection. Breakfast-Piece on display at Tidö There is not much information about the art collection at Tidö, neither of the collection practices of David von Schinkel. However, in an article from the illustrated magazine Hvar 8 dag, 1913, Tidö is described after the death of Carl von Schinkel. The article describes Tidö’s history, as well as the interior of the castle, see fig. 13.

Slottet på Tidö, uppfördt på föranstaltande af Axel Oxenstierna under öfverinseende af Nicodemus Tessin, har af den nu bortgångne ägaren pietetsfullt restaurerats och anses som en af vårt lands ståtligaste slottsbyggnader. Det inre svarar häremot med en konstnärlig och ytterst dyrbar inredning. Slottet innesluter en rik samling konstskatter, särskildt målningar från den tid då Tidö ägdes af släkterna Oxenstierna, Soop och Dohna, men äfven från senare tid med därunden af den Schinkelska familjen gjorda stora förvärf.46

39 ’Tidö’, Nordisk familjebok. 40 ’Tidö’, Nordisk familjebok. 41 W. Tham, Beskrifning öfver Westerås län, Stockholm, C. A. Bagges förlag, 1849, p. 127. Avaliable from: Projekt Runeberg, (2020-03-25). 42 Silfversparre, ’Ett Oxenstjerna-slott’, p. 382. 43 ’Tidö’, Nordisk familjebok. 44 Karling, p. 113. 45 Adelsvapen-wiki, [website], https://www.adelsvapen.com/genealogi/Von_Schinkel_nr_2315#TAB_3 (accessed 2020-03-30). 46 Silfversparre, p. 382.

14

The article explain how Tidö holds a rich collection of art treasures, especially the paintings from previous owners of the castle, Oxenstierna, Soop and Dohna, but also paintings which the von Schinkel family has acquired closer in time.47 The article highlights several important evidences about the collection of von Schinkel. The article is emphasising how the collection at Tidö have been put together, as well as explaining that that the von Schinkel family accumulated artworks during the turn of the 20th century. The description in the article identifies two possible ways for when and how Breakfast-Piece came to the Tidö collection, as the painting could have been acquired by the previous owners of the castle, but also by the von Schinkel family. The article also includes, possibly most significant for the thesis, photographs illustrating the castle’s exterior, library and gallery. The photographs are taken some time between 1890 and 1913.48 In one of the photographs, see fig. 14 and fig. 15, we can distinguish how Breakfast-Piece is displayed in the gallery. A plan of Tidö can be seen in fig. 16, where the gallery is marked as room number five.49 Hahr’s text, 1910, is illustrated with the same photograph of the gallery as Hvar 8 dag. Hahr explains how the gallery at Tidö mostly holds the collection’s Netherlandish paintings, as well as a number of portraits.50 However, Breakfast-Piece is not mentioned in neither Hvar 8 dag, nor Hahr’s text. Unfortunately, none of the mentioned text’s explores the strategy of display of Tidö in further detail. However, similarities with another Swedish collector and her arrangement of Netherlandish art during the time can be seen. Resembling how the Netherlandish paintings in the collection were displayed at Tidö is the display at the Hallwyl palace. Eva Helena Cassel-Pihl, former museum director at the Hallwyl museum, explain how the Netherlandish and Flemish 16th and 17th century paintings in the Hallwyl collection were placed in the residential floor of the Hallwyl House. However, the majority of this part of the collection were placed in a new hall in the attic, specially built for the Netherlandish and Flemish collection.51 Contrary to the display of Netherlandish art at Tidö and the Hallwyl Palace, is the hanging of the Österby collection, created by Pehr Adolph Tamm in the early 19th century. Art historian Claës Tamm explain how the hanging of the collection is characterised by a great regularity and symmetry, a way of hanging paintings with origins from the 18th century. However, the paintings were not arranged according to motif or genre. Instead, in the cases where the collection held two paintings with the same size or by the same artists, the paintings

47 Silfversparre, p. 382. 48 DigitaltMuseum, [website], https://digitaltmuseum.se/021018456650/galleriet-pa-tido-slott-vasteras (accessed 2020-04-28). 49 Upmark, Svenska Turistföreningens årsskrift, p. 90. 50 Hahr, Svenska slott och herresäten vid 1900-talets början. Västmanland, pp. 25-16. 51 E. H. Cassel‐Pihl, ’Samlarmani eller samhällsansvar?’, Konsthistorisk tidskrift, vol. 57, no. 3-4, 1988, pp. 119-123.

15

were displayed together. School, nationality or chronology does not appear to have been a contributing factor to the display.52 Arranging the majority of the Netherlandish art in one place is therefore a practice seen at both the Hallwyl Palace and Tidö, however not in the Österby collection. Eva-Lena Bergström, director of Archives and Library at Nationalmuseum in Stockholm, discusses the display of art through the rise of the Nationalmuseum in Stockholm. Bergström explains how the dominating display principle from the late 18th century to the middle of the 20th century was based on a scientific ideal. The art was displayed according to schools, and chronologically within school.53 It appears that it was this kind of display principle that was applied at both the Hallwyl Palace and at Tidö - a systematic presentation of the paintings, where order and organisation of the artworks are a prevailing display strategy. Estate inventory As have been emphasised earlier in the thesis, there is little written about the art collection of the von Schinkel family, and the art at Tidö. However, the inventory made after Carl von Schinkel’s death in 1913 concretises the collection. Most important in the inventory is the valuation list of the collection, made by Bukowskis director Carl Ulrik Palm in 1913. The list provides the thesis an examination of the number of artworks in the von Schinkel collection. Tamm describes the difficulties in presenting, or recreating, an art collection from the past. Based on the accessible material, descriptions of collections can sometimes be characterised by numbers of how many paintings of a specific genre the collection held. Artists, school and dates of the paintings can be explained. However, Tamm states, this is not always the case. The material, often inventories, is sometimes unreliable as well as incomplete.54 Like Tamm’s descriptions of the material from the Österby collection, the 1913 estate inventory of von Schinkel is not that descriptive. Tamm describes how he in his recreation of the Österby collection presents the painting’s motif and country of origin.55 A similar stance will be taken in this thesis. The thesis will present the number of paintings and the artist’s name if such is written, to avoid mistakes in the interpretation of the material. The valuation list from 1913 is organised after six subcategories – oil paintings, pastels, aquarelles, miniatures, sculptures and furniture. Each subcategory in the valuation list is organised after inventory number.56 The list states the artwork’s inventory number, an artist if such is known, the title or the

52 C. Tamm, Österbysamlingen: “en rätt artig samling af målningar”, Mjölby, Atremi, 2008, p. 46. 53 E-L. Bergström, ’Nationalmuseum i offentlighetens ljus: Framväxten av tillfälliga utställningar’, PhD Thesis, Institutionen för kultur-och medievetenskaper, 2018, p. 43. 54 Tamm, Österbysamlingen, p. 42. 55 Tamm, p. 42. 56 RA, Svea Hovrätt, Adliga bouppteckningar, 1913, Vol. E IX b: 391, Värdering av konstföremål å Tidö.

16

motif as well as the valuation. The list does, however, not contain any information of which room the artwork is located in at Tidö, neither the measurements nor a dating of the work.57 The list declares that von Schinkel’s art collection contained:

• 242 oil paintings • 12 pastels • 15 aquarelles • 16 miniatures • 17 sculptures

The inventory shows that a majority of the art in the von Schinkel collection was oil paintings, compared to other art forms. The total valuation of the oil paintings in the collection is 61.925 Swedish crowns.58 Tamm discuss the size of some of the largest Swedish private collections from the 19th century, which serves as a comparison to the size of the von Schinkel collection. The previously mentioned Österby collection was Sweden’s largest private collection during the time, holding over 350 paintings. The Finspång collection contained 250 paintings, Gustaf Trolle-Bonde’s collection at Säfstaholm held 200 paintings, and Pär Ulmgren’s collection contained 165 paintings.59 In the light of the collections considered by Tamm, the von Schinkel collection appear to be a rather big collection. However, the quality and the value of the mentioned collections are difficult to evaluate and compare. Tamm explains how one should restrain from evaluating collections only through their size. The size of a collection, Tamm states, does not reveal anything about the collection’s quality or art historical value.60 The von Schinkel collection is quite diverse regarding genre, the nationality of the artists represented as well as the value of each painting. This might be the circumstance since the collection held both paintings amassed by previous owners of Tidö, as well as the von Schinkel family’s own acquisitions. There are a number of paintings made by Netherlandish 17th century artists mentioned in the valuation list. However, as was described earlier, the material is not that descriptive. The artists first names are omitted in the list in most of the cases. There are a number of Netherlandish artists sharing the same surname, making it uncertain which of the potential artists really is represented in the collection. Additionally, the list does not express a possible nationality or school of an unknown artist, which makes it plausible that the collection held more Netherlandish artists than the list seems to express.61

57 RA, Svea Hovrätt, Adliga bouppteckningar, 1913, Vol. E IX b: 391, Värdering av konstföremål å Tidö. 58 RA, Svea Hovrätt, Adliga bouppteckningar, 1913, Vol. E IX b: 391, Värdering av konstföremål å Tidö. 59 Tamm, p. 38. 60 Tamm, p. 39. 61 RA, Svea Hovrätt, Adliga bouppteckningar, 1913, Vol. E IX b: 391, Värdering av konstföremål å Tidö.

17

The following Netherlandish artists are mentioned in the valuation list from 1913, transcribed as they are written in the inventory list: 62

• van Huysum • Ruysdael. cop. • van Anthonissen • Nic. Maas • van der Werff • D. Teniers d.y • J. G. Cuyps • R. van Vogelaer

In a catalogue of Old Master paintings in private Swedish collections, printed in 1911, art historian Olof Granberg mentions several Netherlandish paintings in the von Schinkel collection. Granberg describes a painting by Adriaen van der Werff, which seem to be the one that is mentioned in the valuation list. However, Granberg also describes paintings which are not listed in the inventory, by Caspar Netscher, Barent Gael and Thomas van der Wilt.63 Hahr’s text similarly mentions works by Netscher, Gael and van der Werff. However, Hahr also describes works by Jakob Gerritsz Cuyp, Nicolas Maas and Jan van Huysum. With Hahr’s explanation, we get a first name to these artists. Furthermore, Hahr describes a landscape painting by Aart van der Neer, which is not described in neither the inventory nor Granberg’s catalogue.64 One should however bear in mind that Granberg’s catalogue is written two years prior to the estate inventory from 1913 being made, and the attribution of some of the paintings mentioned by Granberg could have been questioned by Palm in 1913. The same case might be why the van der Neer painting is mentioned in Hahr’s text, but not in the inventory. Through studying the valuation list from 1913, Granberg’s catalogue and Hahr’s text, it is confirmed that the von Schinkel collection did contain several Netherlandish 17th century paintings during the early 20th century. We can also conclude that the collection held well-known Netherlandish artists. The question of who acquired these paintings is still uncertain. The paintings could have been acquired by the previous owners of Tidö, as well as by the von Schinkel family. We can therefore state that the von Schinkel collection did hold Netherlandish art, but we cannot state with certainty that the von Schinkel family, or Carl von Schinkel himself, had an interest in Netherlandish art.

62 RA, Svea Hovrätt, Adliga bouppteckningar, 1913, Vol. E IX b: 391, Värdering av konstföremål å Tidö. 63 See O. Granberg, Inventaire général des trésors d'art, peintures & sculptures, principalement de maîtres étrangers (non scandinaves) en Suède, Vol. 1., Stockholm, Cederquists Grafiska Aktiebolag, 1911. Avaliable from: Internet Archive. 64 Hahr, p. 26.

18

BREAKFAST-PIECE IN THE VON SCHINKEL COLLECTION

As have been discussed in the previous chapter, the von Schinkel collection did contain several works by Netherlandish 17th century artists. Based on the valuation list made in 1913, the collection appears to contain two still lifes. Both of these still lifes are described as being made by an unknown Netherlandish artist from the 17th century, see fig. 17. The two paintings, with inventory number eight and ten, are not described further in the 1913 valuation of the collection, in terms of measurements or motif. Based on the 1913 inventory, both of these paintings could be Breakfast-Piece. However, a valuation list of the paintings at Tidö made in 1897 is attached in the estate inventory from 1913, called “Förteckning öfver samlingarna på Tidö”. The 1897 inventory list is more detailed and descriptive than the 1913 list. The list is divided in the same style as the 1913 inventory list, into subcategories. Short, yet informative, descriptions of each artwork are written in the list. Artist, title or the motif of the artwork, measurements, valuation and a previous provenance if such is known is described. Additional information describing the paintings made by unknown artists is defined, such as a possible school of the artist or a possible date.65 At the end of the 1897 list, we can read that a H. Bukowski made the valuation of the collection, see fig. 18.

Att åfvanstående konstsamlingar blifvit till här angifna priser af undertecknad efter bästa förmåga värderade försakras af H. Bukowski Stockholm […] 20 December 1897.66

It is much likely that H. Bukowski stands for Henryk Bukowski, 1839-1900, the founder of the Bukowski auction house.67 That the 1897 inventory of the art collection at Tidö was made by Bukowski, and that the 1913 inventory was made by Palm, demonstrates a connection between the Bukowskis auction house and von Schinkel. It is therefore reasonable to believe that Carl von Schinkel was an active collector, or at least involved in some way in the art market during the late 19th century. In the list from 1897, both of the mentioned still lifes are described further in detail. The still life with inventory number ten is described as made on canvas. We can therefore eliminate the painting with inventory number ten as being Breakfast-Piece.

65 RA, Svea Hovrätt, Adliga bouppteckningar, 1913, Vol. E IX b: 391, Förteckning öfver samlingarna på Tidö. 66 RA, Svea Hovrätt, Adliga bouppteckningar, 1913, Vol. E IX b: 391, Förteckning öfver samlingarna på Tidö. 67 Svenskt biografiskt lexikon, [website], https://sok.riksarkivet.se/Sbl/Presentation.aspx?id=17143 (accessed 2020-04-08).

19

However, the still life with inventory number eight, see fig. 19, appears to be Breakfast-Piece. The section reads:

Hollländsk artist på 1600-talet 300 8. Stilleben, frukost framsatt på ett bord T. H. 0,53 B. 0,65 Från Löwenhjelmska samlingen. – Har tillskrifvits Balthasar van der Ast.68

Even though the list from 1897 does not mention any specific details of the painting other than that it depicts a breakfast laid on a table, the measurements are identical to those the author of the thesis took during the technical campaign of the painting. Another indication that the described painting is Breakfast-Piece is the inventory number eight which was detected on the back of the panel written next to “Tidö”, as was described in a previous chapter. This section in the list reveal several important aspects of the painting. We can now with certainty state that Breakfast-Piece was in the von Schinkel collection at Tidö from 1897, to at least 1913. We also distinguish that Bukowski considered the painting as being made by a 17th century Netherlandish artist. However, what Bukowski based this idea on is not stated in the inventory. Neither do we get an explanation to the previous attribution to Baltahsar van der Ast. The Löwenhielm auction Most importantly, the list mentions that Breakfast-Piece previously has been in the Löwenhjelm, or Löwenhielm collection.69 However, the inventory does not explain when Breakfast-Piece was acquired from the Löwenhielm collection. There is not much information about the Löwenhielm collection. In his description of Stockholms Högskola’s art collection, 1912, art historian Osvald Sirén describes that many of the works in the Berg collection previously had been in the Löwenhielm collection.70 In an article from 1911 in Konst och konstärer, Sirén describes “exc. Löwenhielms välkända samling”, the well-known collection of His Excellency Löwenhielm.71 There are two reasonable occasions when Breakfast-Piece could have been acquired by the von Schinkel family from Löwenhielm. The first being when David Schinkel, born 1743 in

68 RA, Svea Hovrätt, Adliga bouppteckningar, 1913, Vol. E IX b: 391, Förteckning öfver samlingarna på Tidö. f. 2. 69 The thesis will hereinafter use the spelling ”Löwenhielm”, as the literature concerning the family uses this spelling. 70 O. Sirén, Beskrifvande förteckning öfver Stockholms högskolas tafvelsamling: jämte konsthistorisk inledning, Uppsala, Almqvist & Wiksells boktryckeri-A.-B., 1912, p. 29. Avaliable from: Internet Archive, (accessed 2020-04-20). 71 O. Sirén, ’Stockholms Högskolas tafvelsamling’, Konst och konstnärer, vol. 2, 1911, pp. 85-97. Avaliable from: Projekt Runeberg, (accessed 2020-04-28).

20

Germany,72 bought three ironworks, Hamrångeverken, from Fredrik Adolf Löwenhielm in the 1780s’.73 The second occasion for when Breakfast-Piece was acquired by von Schinkel could be the auction of the Löwenhielm collection in 1857.74 Sirén briefly mentions the auction in his text, however, no further information of the auction is given.75 Even though we do not have any further texts explaining the Löwenhielm collection, the catalogue from the Löwenhielm auction concretises the auction. The description of the works in the auction catalogue are short, describing artists, title of motif as well as support. The auction catalogue does mention several still lifes. However, catalogue number six is of special interest for the thesis. The painting is described as made on panel, by “Bartholomäus van der Ast, (rar)”, see fig. 20.76 Since the von Schinkel inventory from 1897 stated that Breakfast-Piece previously had been attributed to Balthasar van der Ast, it is most likely that the still life in the 1857 Löwenhielm auction is Breakfast-Piece. The catalogue does not, unfortunately, describe any measurements of the painting nor a description of the motif. Breakfast-Piece was purchased during the lifetime of Carl von Schinkel’s father, Bengt von Schinkel, 1794-1882.77 As the catalogue does not describe who purchased the painting, it is uncertain if Bengt von Schinkel or Carl von Schinkel bought Breakfast-Piece. The Löwenhielm collection The 1857 auction catalogue does not mention a first name for Löwenhielm. Sirén only states that the auction contained “the collection of His Excellency Löwenhielm”.78 It is therefore uncertain which Löwenhielm Breakfast-Piece previously belonged to. Additionally, many of the men in the Löwenhielm family share first name, making it even more difficult to clarify who previously owned the painting. One name and collection that is mentioned in connection to the Löwenhielm auction is “generallöjtnanten, grefve C. G. Löwenhielms samling”.79 Carl Gustaf Löwenhielm, 1790-1858, was a lieutenant general as well as a count.80 Karling, however, states that the 1857 auction contained the collection from “His

72 C. F. Lindahl, Svenska millionärer: minnen och anteckningar, Stockholm, P. A. Huldbergs bokförlags-aktiebolag, 1897, p. 156. Avaliable from: Projekt Runeberg, (accessed 2020-04-08). 73 Historiskt-geografiskt och statistiskt lexikon öfver Sverige: Sjunde Bandet. T-Ö, Stockholm, A. Holmberg & Comp, 1866, p. 34. Avaliable from: Projekt Runeberg, (accessed 2020-04-08). 74 Sirén, Beskrifvande förteckning öfver Stockholms högskolas tafvelsamling, p. 9. 75 Sirén, p. 9. 76 Förteckning å en samling original oljefärgs-taflor, hvilka, innan kort, komma å offentlig auktion i Brunkebergs hotell försäljas, Stockholm, J. F. Meyer & Comp:s, 1857, p. 3. 77 Svenskt biografiskt lexikon, [website], https://sok.riksarkivet.se/sbl/Presentation.aspx?id=6381 (accessed 2020-05-14). 78 Sirén, ’Stockholms Högskolas tafvelsamling’, p. 21. 79 Förteckning öfver en dyrbar och vald samling oljemålningar, hvilka tillhört framlidne general-direktören G. Fr. Almquist, Stockholm, H. Bukowski, 1887, p. 8. 80 C. F. Lindahl, Svenska millionärer: minnen och anteckningar, Stockholm, Körrsners Boktryckeri-Aktiebolag, 1900, pp. 343-353. Avaliable from: Projekt Runeberg, (accessed 2020-05-05).

21

Excellency G. C. F. Löwenhielm”.81 Gustaf Carl Fredrik Löwenhielm, 1771-1856, was also a lieutenant general and count.82 It is reasonable that the art collection was put up for auction after Gustaf Löwenhielm’s death in 1856. However, the wealth of Carl Gustaf Löwenhielm decreased during the last years of his life, and an auction prior to his death is then understandable.83 The estate inventory made after Gustaf Löwenhielm’s death in 1856 does not describe any possessions in detail, as only Löwenhielm’s debts and assets are explained.84 No art collection or specific paintings are mentioned in the inventory. However, Karling briefly mentions the art collection of Gustaf Löwenhielm, stating that he collected art in Paris during his time as an envoy.85 However, the estate inventory of Carl Gustaf Löwenhielm, made in 1858, is more detailed. 105 oil paintings are present in Carl Gustaf Löwenhielm’s collection during his death.86 It is perhaps more likely that the 1857 auction contained the art collection of Carl Gustaf Löwenhielm, considering the mentioned art collection in his estate inventory. Considering the monogram and coronet on the back of the painting, as was described in a previous chapter, there is a possibility that the “GL” monogram stands for Gustaf Löwenhielm.87 Two of the heraldic researcher which the author has been in contact with stated that the coronet belonged to a count. The coronet did, however, appear to hail from outside of Scandinavia. Mörner, on the other hand, stated that the German appearance of the coronet could have been used as a cliché. Even though it is uncertain which Löwenhielm the painting previously belonged to, three important aspects of Breakfast-Piece’s afterlife in the von Schinkel collection are still recognised with the information gathered from the auction catalogue of 1857. First of all, an evidence of how the painting was acquisitioned by the von Schinkel family is confirmed. Secondly, a date for when Breakfast-Piece entered the von Schinkel collection is established. Additionally, what might be the most important information gathered from the auction catalogue is relating to the question that was risen in the previous chapter. With the purchase from the 1857 auction, we can state that the von Schinkel family did have an interest in Netherlandish art. Breakfast-Piece was not in the von Schinkel collection by chance, due to the previous owners of Tidö. The presence of Breakfast-Piece in the von Schinkel collection can therefore be regarded as an active practise. The acquisition of Breakfast-Piece was a choice made by a member of the von Schinkel family, and the painting was acquired through a selective process.

81 Karling, p. 9. 82 Svenskt biografiskt lexikon, [website], https://sok.riksarkivet.se/sbl/Presentation.aspx?id=10119 (accessed 2020-05-08). 83 Lindahl, Svenska millionärer, pp. 352-353. 84 RA, Svea Hovrätt, Adliga bouppteckningar, 1857, Vol. E IX b: 292. 85 Karling, p. 15. 86 RA, Svea Hovrätt, Adliga bouppteckningar, 1858, Vol. E IX b: 295. 87 One should bear in mind that one of the heraldic researched stated that the monogram also could be read as “GU”.

22

PRESENCE OF NETHERLANDISH ART IN SWEDISH COLLECTIONS

Through inventories, auction catalogues and testimonies from the turn of the 20th century, an examination of if and how Netherlandish art was collected among the Swedish collectors during the period can be conducted. The collecting of Netherlandish art during the time is contextualised through the estate inventory from 1913, as well as through other collectors, auction catalogues and exhibitions. The following chapter is studying the supply for Netherlandish art in Sweden during the late 19th century through auction catalogues from Bukowskis. The collections of a few private collectors from the period is studied for an understanding of if Netherlandish art really was acquired, as well as how the art was collected. Exhibition catalogues reveal the status of Netherlandish art among Swedish collectors. The supply of Netherlandish art In his description of the Stockholm University art collection, 1912, Sirén describes how the mid 19th century was a “golden age” for Sweden’s art market. The supply for Old Masters, and especially those from the Netherlands, were plentiful during the mid 19th century in Sweden. Original paintings by Old Masters could be bought at auctions for the same sum of money as reproductions of those paintings in 1912, Sirén states.88 Art historian Gunilla Frick clarifies how auction catalogues from Bukowskis show that Netherlandish and Italian Old Master paintings were available for buyers during the 19th century, and that several examples of how to build a collection of a more traditional character was given.89 Indeed, auction catalogues from Bukowskis from the late 19th century does display that many Netherlandish 17th century paintings was sold to a large extent at the auction house during the period.90 Throughout the 1880’s to the 1890’s, almost every catalogue containing paintings includes Netherlandish art, many of those works from the 17th century. The catalogues include works by more well-known artists, but also several works that are labelled in the catalogues as “Netherlandish Master from the 17th century”.91 Auction number 44, held in 1888, is entirely devoted to Netherlandish art from the

88 Sirén, pp. 8-9. 89 G. Frick, ’Judiska konstsamlingar i Sverige vid sekelskiftet—ett led i assimilationsprocessen’, Konsthistorisk tidskrift, vol. 57, no. 3-4, 1988, pp. 35. 90 See for example Julkatalog: förteckning öfver en dyrbar och omvexlande samling, H. Bukowski, Stockholm, L. Normans Boktryckeri-Aktiebolag, 1893. 91 See for example auction catalogue nr. 1, 8, 14, 23, 28, 42, 48, 51, 57, 69 and 76 from Bukowskis.

23

collection of King Charles XV. The catalogue includes works by well-known artists such as Roelof de Vries, Gabriel Metsu and Adriaen van Ostade, among others.92 In the preface of the 1886 catalogue raisonné of Old Masters in Swedish collections, Granberg explain the lack of Italian works, and the abundance of Netherlandish paintings in Swedish collections at during the late 19th century:

On trouvera peutêtre la collection passablement exclusive. Il faut toutefois attribuer cette circonstance à la raison que l'école italienne brille en Suède par son manque presque total d'oeuvres marquantes, tandis que les écoles néerlandaises comprennent littéralement des masses de tableaux, la plupart introduits chez nous dans le courant du XVIIme siècle par les nombreuses familles néerlandaises qui s'établirent à cette époque en Suède.93

Many of the Netherlandish paintings in Sweden, Granberg explains, were introduced by Netherlandish families who settled in Sweden during the 17th century.94 In the 1911 catalogue of Swedish collections, Granberg comments on the 1886 catalogue raisonné, adding that the abundance of Netherlandish art in Sweden also was a result of war booties from the Thirty Years’ War, especially from Prague in 1648, “Aujourd’hui, vingt-cinq ans plus tard, je puis ajouter, après des recherches réitérées, que nombre des tableaux néerlandais, qui se trouvent à présent dans les collections suédoises, proviennent du butin de la guerre de Trente ans, surtout du sac de Prague en 1648.95 Through studying auction catalogues, it is clear that there were plenty of Netherlandish paintings that potential buyers during the 19th century could acquire. Works by both more well-known artists could be acquired, but also more inexpensive works by unknown artists. Sirén’s description emphasises the advantageous position for the collectors during the time, as prices of Old Masters were low, and the supply was generous. In the context of exhibition history, Bergström explains how the growing Swedish bourgeois public during the 19th century needed a cultural identity. The symbolic values of art functioned well in the context and changed the art market, as the bourgeois public started to acquire art.96 It is an exaggeration to state that everyone at the time could acquire Netherlandish art. However, collectors with some financial capital could indeed acquire Old Masters from the Netherlands through auction houses.

92 Förteckning öfver en dyrbar och vald samling oljemålningar af nyare Svenska mästare samt äldre Holländska taflor (från Konung Carl XV:s samlingar å Ulriksdal) m.m., Stockholm, H. Bukowski, 1888. 93 O. Granberg, Catalogue raisonné de tableaux anciens inconnus jusqu'ici dan les collections privées de la Suède: tome premier, contenant 500 tableaux, principalement des écoles hollandaise et flamande du XVIIe siècle, Stockholm, Samson & Wallin, 1886, pp. IX-X. Avaliable from: Internet Archive, (accessed 2020-04-15). 94 Granberg, Catalogue raisonné de tableaux anciens inconnus jusqu'ici dan les collections privées de la Suède, pp. IX-X. 95 Granberg, ’Stockholms Högskolas tafvelsamling’, (”Préface”, para. 1). 96 Bergström, ’Nationalmuseum i offentlighetens ljus: Framväxten av tillfälliga utställningar’, p. 51.

24

The concept of Old Masters, however not the term itself, can be traced back to the 16th century, art historian Francis Haskell explains. Using the term in a positive sense is found in sales catalogue from the late 18th century.97 The auction catalogues from Bukowski that the author has studied does indeed describe paintings made by unknown artists as made by “Okänd mästare”.98 Painting’s by well-known Netherlandish artists, such as Jan Davidsz. de Heem, are consistently mentioned as “Holländsk mästare”.99 Auctions made Netherlandish Old Masters accessible, as well as desirable. Using the term “Netherlandish master” of unknown artists, implies the painting with a value and status. Swedish private collectors One of the more well-known collectors active in the late 19th century is Wilhelmina von Hallwyl, 1844-1930.100 The catalogue of the Hallwyl collection, printed between 1926 and 1956, reveal the great number of Netherlandish paintings that von Hallwyl held. The date and place of purchase, as well as the price of the painting is listed in many object descriptions.101 The Netherlandish and Flemish 16th and 17th century art in the von Hallwyl collection consists of 170 pieces.102 Noticeable when reading the catalogue is also the great number of purchases from “konsthandlaren H. Bukowski”.103 Cassel-Pihl explain how the majority of the collection was purchased from Bukowskis. Carl Ulrik Palm, the director at Bukowskis after the death of Henryk Bukowski in 1900, bought the paintings from an auction firm in Amsterdam.104 Another important collector in this context is Johan Adolf Berg, 1827-1884, whose collection was donated to Stockholms Högskola, now Stockholm University, after his death. Many of the paintings in the Berg collection are Netherlandish Old Masters, and a selection of 85 Netherlandish paintings in the Berg collection are described by art historian Ludvig Looström in his catalogue of the collection.105

97 F. Haskell, The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition, New Haven, Yale Univ. Press, 2000, pp. 3-4. 98 See for example catalogue nr. 5, Förteckning öfver en dyrbar och vald samling oljemålningar, hanteckningar och gravyrer, konstindustriföremål, böcker och planschverk, hvilka tillhört baron C. F. L. Von Friesendorff på Åkeshof, (f. d. Kurckska samlingen), framlidne grefve P. Kalling på Myrö m. fl., Stockholm, H. Bukowski, 1883. 99 Förteckning öfver en dyrbar och vald samling oljemålningar, hvilka tillhört framlidne general-direktören G. Fr. Almquist, Stockholm, H. Bukowski, 1887. 100 Svenskt biografiskt lexikon, [website], https://sok.riksarkivet.se/Sbl/Presentation.aspx?id=12455 (accessed 2020-04-20). 101 See Hallwylska Samlingen: beskrifvande förteckning. Grupp 32: Taflor I, Hallwylska museet, Stockholm, A.-B. Centraltryckeriet, 1930 102 Cassel‐Pihl, ’Samlarmani eller samhällsansvar?’, pp. 119-123. 103 See for example Hallwylska Samlingen, p. 89. 104 Cassel‐Pihl, pp. 119-123. 105 L. Looström, J.A. Bergs tafvelsamling på Heleneborg i Stockholm 1880, Stockholm, A. Lindmansson, 1880, pp. 26-51.

25

In the previously mentioned catalogue of the Stockholm University collection, 1912, Sirén describes how the provenance of a remarkable number of paintings in the Berg collection can be traced in Swedish collections. In many cases, paintings were brought to Sweden by immigrant from the Netherlands. The earliest purchases to the Berg collection came from the previously mentioned auction of the Löwenhielm collection, and many of the later acquisitions was made through Bukowskis.106 Like the Hallwyl collection and the Berg collection, the earlier mentioned Österby collection held many Netherlandish artworks, where around 60 of the paintings in the collection were made by Netherlandish artists.107 It is clear that private collectors during the period did collect Netherlandish art to a great extent. The testimonies from the catalogue of the Hallwyl collection, Looström’s catalogue of the Berg collection, as well as the estate inventory of Carl von Schinkel describe a wealth of Netherlandish paintings by well-known Old Masters. The Hallwyl and the Berg catalogues also confirms that the collectors acquired art from auctions, more specifically, Bukowskis. The link between the collectors’ demand, and the auction houses supply for Netherlandish art seems to correlate. Exhibiting Netherlandish art There are several examples of temporary exhibitions displaying Netherlandish art during the late 19th century. Additionally, there are many exhibitions displaying art from private Swedish collectors. The exhibitions appear to have two major purposes. The exhibitions created an opportunity for private collectors to display their valuable collections, but the exhibitions were also organised for educational purposes. The exhibitions aspired to let people interested in art being able to view privately owned art works.108 In Granberg’s catalogue of one such exhibition from 1893, several Netherlandish 17th century painters are represented, as Egbert van der Poel, Roelof Jansz. de Vries and Wouter Knijf, among others. What might be most interesting in the exhibition catalogue, however, are the several exhibited still lifes of 17th century Netherlandish painters, among them Balthasar van der Ast, Frans Hals, Willem Claesz. Heda, Jan Davidsz. de Heem and Christian Jansz. Striep.109 The collectors that have lent their art to be exhibited are Frieherrs, counts and countesses, as well as the king of Sweden.110

106 Sirén, pp. 8-9. 107 Tamm, p. 43. 108 See O. Granberg, Katalog öfver utställningen af äldre mästares taflor ur Svenska privatsamlingar anordnad till förmån för högskolefonden maj – juni 1884. (1884. Sthlm.), Stockholm, P. A. Norstedt & Söner, 1884, Available from: Kungliga biblioteket, (accessed 2020-04-22). 109 See O. Granberg, Katalog öfver utställningen af äldre mästares taflor: ur svenska privasamlingar, i konstförenigengens f.d lokal, 19 maj-30 juni, 1893, Stockholm, Ivar Hæggströms boktryckeri, 1893. Available from: Internet Archive, (accessed 2020-04-22). 110 Granberg, Katalog öfver utställningen af äldre mästares taflor, (”Utställare”).

26

The exhibition of Old Masters from private Swedish collections, displayed in six rooms at Bukowskis in 1884, demonstrate a similar abundance of Netherlandish art being displayed. Like the 1893 exhibition, the collectors that have lent their art to be exhibited are merchants, royalty and nobility. Among the organisers of the exhibition are the previously mentioned collector Johan Adolf Berg and curator Gustaf Upmark, as well as Emanuel Cederström, director of the King’s art collections.111 The reason for the 1884 exhibition being organised is stated in the preface to the exhibition catalogue. The preface is written by Granberg, who was the secretary of the exhibition committee:

Det framhölls i nämnda inbjudningsskrifvelse, att Sverige icke är konstskatternas land och att det icke kan täfla med de stora kulturlanden i rikedom på utmärkta konstalster. ”Men”, yttrades det, ”om vårt land än i det hänseendet är fattigt, så rådet här dock ingalunda en fullständig brist på goda, gamla konstverk Nationalmusei tafvelgalleri har, såsom bekant, en mängd värdefulla arbeten att uppvisa, och dessutom träffas i privatsamlingar såväl i Stockholm som i landsorten talrika, delvis dyrbara, målningar af äldre, utländske mästare-arbeten. Det är derför som undertecknade beslutat, […] anordna en utställning af framstående och karaktäristiska arbeten af äldre mästare – […] att studera ansedde italienske, tyske, franske och, företrädelsevis, nederländske mästare, hvilka i nationalmuseum alls icke eller endast på ett mindre tillfredställande sätt äro representerade”.112

The invitation letter for the 1884 exhibition emphasises that Sweden is not a country of great art treasures, and that Sweden cannot compete with the great cultural countries in wealth of excellent artworks. However, the invitation letter states, there is no lack of good artworks in Nationalmuseum and in private collections. Paintings by reputable Italian, German, French, and specifically Netherlandish artists, which is not represented at all, or in a less satisfying way in the Nationalmuseum, are requested by the committee to be exhibited.113 The 1884 exhibition demonstrated how Netherlandish painting dominated the Swedish private exhibitions at the time, Bergström states.114 What the invitation letter, Granberg and the rest of the exhibition committee, emphasise is the selection of paintings that were to be exhibited. The invitation letter’s statement that Sweden is not a country rich of art treasures, and the following request for “företrädelsevis, nederländske mästare”115 defines how Netherlandish art was highly valued, and a way of showing that Swedish collection actually did contain great art treasures. The letter does not request contemporary art to display the art treasures of Sweden, instead Old Masters, and preferably Netherlandish ones, are to demonstrate the quality and splendour of Swedish collections.

111 Granberg, Katalog öfver utställningen af äldre mästares taflor, (”Förord”, para. 2). 112 Granberg, (”Förord”, para. 1). 113 Granberg, (”Förord”, para. 1). 114 Bergström, p. 108. 115 Granberg, (”Förord”, para. 1).

27

A specific taste? Historian and philosopher Krzysztof Pomian discuss taste in relation to collecting practice, stating that possessions represent a status for their owners, demonstrating good taste.116 The high status of Netherlandish art during the period is quite clear in the exhibition invitation from 1884. The collectors who lent their Netherlandish art to be exhibited would consequently demonstrate their good taste in the exhibition. There are some further evidences of Netherlandish art in relation to taste and status during the period. In his description of the painting collection at Vanås Castle, Granberg explains:

Galleriet på Vanås — taflorna äro för närvarande upphängda i ett och samma rum, en stor sal, där de, klädande väggarna från golf till tak, trängas om utrymmet — innehåller några goda franska och ett par ganska intressanta senitalienska målningar, men dess styrka ligger, såsom förhållandet ju plägar vara med våra andra svenska privatsamlingar, i flamska och holländska arbeten från 1600-talet.117

The brilliance of private Swedish collections during the 19th century, Granberg states, lies in the representation of Netherlandish and Flemish 17th century art.118 Granberg continues the text by expressing his, rather subjective opinion, of Italian art in relation to Netherlandish art:

Att börja med nederländarne, när det finnes italienare i sällskapet, skulle helt visst uppfattas såsom ett bevis på dålig uppfostran. Jag anser mig därför först böra presentera de ärade sydländingarna, ehuru med det uttryckliga förbehållet, att det sker för etikettens skull. Ty ehuru en föregående generation med djup vördnad sett upp till de italienska taflor, hvilka nu hänga på Vanås, måste en modern konstvän erkänna, att dessa fordom så högt skattade dukar äro af ett ringa intresse och obetydligt värde i jämförelse med dess nederländska kamrater.119

Granberg describes how Italian art is of little interest and value compared to Netherlandish art for the modern connoisseur. Granberg describes a change in the understanding and appraisal of Netherlandish and Italian art, where Netherlandish art has become the more valuated of the two. 120 Granberg’s proclamation holds two important words - value and interest. Even though his statement seems subjective, Granberg is undoubtedly describing a prevailing attitude towards Netherlandish art as being superior to Italian art during the late 19th century. Collecting and exhibiting Netherlandish art seems to have been associated with taste, status and value during the period.

116 K. Pomian, ‘The collection: between the visible and the invisible’, in S. M. Pearce (ed.), Interpreting Objects and Collections, London, Routledge, 1994, p. 163. 117 Granberg, Studier i tafvelsamlingen på Vanås, p. 4. 118 O. Granberg, Studier i tafvelsamlingen på Vanås, Stockholm, Kongl. Boktryckeriet, 1885, p. 4. Available from: Kungliga biblioteket, (accessed 2020-04-27). 119 Granberg, p. 4. 120 Granberg, p. 4.

28

SUMMARY

The aim of the thesis was to study the Swedish provenance of Breakfast-Piece, as well as to examine the presence of Netherlandish art in the late 19th century Swedish private collections. In the thesis first chapter, the acquisition of Breakfast-Piece to the Stockholm University art collection was studied. As the author did not have access to the university’s archive, the chapter is primarily studied through Karling’s catalogue of the university’s art collection. Karling describes how Breakfast-Piece was purchased from Rapps Konsthandel in 1957 after a fire that destroyed several paintings in the university art collection. The acquisition of the painting to the collection was made under the supervision of Karling. When studying the auction catalogues from Rapps Konsthandel from the mid of the 20th century, it became clear that the auction house sold many Netherlandish paintings, and still lifes in particular. However, the author did not find Breakfast-Piece in any of the catalogues from Rapps Konsthandel. It is likely that the painting left the von Schinkel collection after David von Schinkel’s death. However, the estate inventory made after David von Schinkel’s death, 1933, did not describe Breakfast-Piece or any other artworks in detail. The second chapter investigated the marks on the back of Breakfast-Piece. The marks did confirm the information already known about the painting’s provenance. The presence of Breakfast-Piece in the Stockholm University collection is clear, as several different notes and stamps demonstrates this. Several different marks that originates from the painting’s time at Tidö, as inventory numbers and the castle’s name, could be identified. A note that most likely came from the painting’s time at Rapps Konsthandel could also be identified, however, the letters and numbers on the note could not be deciphered. However, there were marks which could not be identified, as the inventory number “Nro. 10”. The most puzzling note might have been the one demonstrating a monogram a coronet. The author was in contact with three heraldic experts, which stated that the coronet appeared to belong to a count or countess from outside Scandinavia. There is, however, as possibility that the coronet could have been used as a cliché. The third chapter studied the von Schinkel art collection at Tidö, mainly through an estate inventory made in 1913. The estate inventory, as well as a few texts from the turn of the 20th century, did indeed describe that the von Schinkel collection contained several Netherlandish 17th century paintings. However, we could not conclude that Carl von Schinkel himself, or the von Schinkel family, had an interest in Netherlandish art, as the art collection at Tidö contained art acquired by both von Schinkel and previous owners of Tidö. The chapter also studied Breakfast-Piece on display at Tidö. In a photograph from Tidö taken during the turn of the 20th century, Breakfast-Piece could be distinguished on display in the gallery. The display of Netherlandish art in von Schinkel’s collection was compared to other collectors of the time, studying how Netherlandish art were displayed during the period.

29

The following chapter studied Breakfast-Piece in the von Schinkel collection, mainly through the same estate inventory as the previous chapter. However, a list of the art collection made in 1897 described Breakfast-Piece in detail. The list explained the painting’s valuation and that it was made by a 17th century Netherlandish artist. Though, most important in the list was the explanation of a previous provenance of the painting – the Löwenhielm collection. Breakfast-Piece was discovered in the catalogue from the 1857 auction of the Löwenhielm collection, which established a date for when the painting entered the von Schinkel collection. The catalogued does not, however, describe which member of the von Schinkel family that purchased the painting. Moreover, the 1857 auction catalogue did not describe which Löwenhielm Breakfast-Piece previously belonged to. Through sources from the turn of the 20th century, we can however establish that the Breakfast-Piece probably was in the collection of either Gustaf Löwenhielm, 1771-1856, or Carl Gustaf Löwenhielm, 1790-1858. The acquisition of Breakfast-Piece from the Löwenhielm auction confirms that someone in the von Schinkel family had an interest in Netherlandish art. The presence of Breakfast-Piece in the von Schinkel collection at Tidö is therefore regarded as an active practice, since the painting was not in the von Schinkel collection due to a previous owner. The last chapter of the thesis studied the presence of Netherlandish art in Swedish private collections during the late 19th century. Indeed, many well-known collections at the time did contain vast amounts of Netherlandish paintings. Additionally, through studying auction catalogues from the period, a large supply for Netherlandish art could be seen. Collectors could acquire both expensive paintings by famous Netherlandish Old Masters, but also more inexpensive paintings by unknown masters from the 17th century through Bukowskis auction house. Exhibition catalogues from the late 19th century describes a taste for Netherlandish art, as the art was seen as something of great value and interest. Exhibitions that displayed Netherlandish paintings from private Swedish collectors would demonstrate the splendour of the collections, as well as the art treasures that Sweden held. Furthermore, the exhibitions displayed the good taste of the collectors who lent their art to be exhibited. The thesis emphasised the vast amounts of Netherlandish paintings in private Swedish collections during the 19th century, as well as the great supply of the art for collectors to acquire. However, further research on the topic is needed for a more comprehensive understanding of the reception of Netherlandish art in Sweden during the late 19th century. Studying several different private collections and the archival material of collectors in depth, could expose to a higher degree why Netherlandish painting had a high status. The symbolically used words value and interest touch upon this, but more research on the topic is needed for a more thorough examination. Further research is also needed to continue writing the object biography of Breakfast-Piece. Studying additional archival records from the Löwenhielm and the von Schinkel families could expose when the painting entered the Löwenhielm collection and to whom it belonged earlier.

30

BIBLIOGRAPHY

UNPUBLISHED SOURCES STOCKHOLM Riksarkivet Svea Hovrätt, HA Adliga bouppteckningar Vol. E IX b: 292 (1857) Riksarkivet Svea Hovrätt, HA Adliga bouppteckningar Vol. E IX b: 295 (1858) Riksarkivet Svea hovrätt, HA Adliga bouppteckningar Vol. E IX b: 391 (1913) UPPSALA Riksarkivet Landsarkivet i Uppsala Snevringe häradsrätt Bouppteckningar Nr. 83 (1933) PUBLISHED SOURCES Bergström, E-L., ’Nationalmuseum i offentlighetens ljus: Framväxten av tillfälliga

utställningar’, PhD Thesis, Institutionen för kultur-och medievetenskaper, 2018. Cassel‐Pihl, E. H., ’Samlarmani eller samhällsansvar?’, Konsthistorisk tidskrift, vol. 57, no. 3-

4, 1988, pp. 119-123. Feigenbaum, G., ’Manifest provenance’, in G. Feigenbaum and I. Reist (eds.), Provenance.

An alternate History of Art, Los Angeles, Getty Research Institute, 2012, pp. 6-28.

31

Feigenbaum, G., and I. Reist (eds.), Provenance. An alternate History of Art, Los Angeles, Getty Research Institute, 2012.

Feigenbaum, G., and I. Reist, ‘Introduction’, in G. Feigenbaum and I. Reist (eds.),

Provenance. An alternate History of Art, Los Angeles, Getty Research Institute, 2012, pp. 1-4.

Frick, G., ’Judiska konstsamlingar i Sverige vid sekelskiftet—ett led i

assimilationsprocessen’, Konsthistorisk tidskrift, vol. 57, no. 3-4, 1988, pp. 32-45. Förteckning å en samling original oljefärgs-taflor, hvilka, innan kort, komma å offentlig

auktion i Brunkebergs hotell försäljas, Stockholm, J. F. Meyer & Comp:s, 1857. Förteckning öfver en dyrbar samling oljemålningar, pastell-och aqvarellmålningar, antika

möbler och andra konstföremål, samt en större myntsamling, Stockholm, H. Bukowski, 1880.

Förteckning öfver en dyrbar och vald samling oljemålningar af nyare Svenska mästare samt

äldre Holländska taflor (från Konung Carl XV:s samlingar å Ulriksdal) m.m., Stockholm, H. Bukowski, 1888.

Förteckning öfver en dyrbar och vald samling oljemålningar, hanteckningar och gravyrer,

konstindustriföremål, böcker och planschverk, hvilka tillhört baron C. F. L. Von Friesendorff på Åkeshof, (f. d. Kurckska samlingen), framlidne grefve P. Kalling på Myrö m. fl., Stockholm, H. Bukowski, 1883.

Förteckning öfver en dyrbar och vald samling oljemålningar hvilka tillhört TH. Schagerström

samt keramiska samlingar m.m., Stockholm, H. Bukowski, 1890. Förteckning öfver en dyrbar samling af konstindustri-föremål: antika konstmöbler, bronser,

porslin, vapen m.m., oljefärgstaflor och aqvareller, samt en myntsamling, Stockholm, H. Bukowski, 1889.

Förteckning öfver en dyrbar och vald samling oljemålningar, hvilka tillhört framlidne

general-direktören G. Fr. Almquist, Stockholm, H. Bukowski, 1887. Förteckning öfver en omvexlande och dyrbar samling oljemålningar af äldre och lefvande

mästare, aqvareller och miniatyrer, konstindustri-föremål, Stockholm, H. Bukowski, 1886.

32

Förteckning öfver en rikhaltig samling som tillhört framl.generaldirektör F. Huss och hans maka F. Bergenstråhle, öfverste G. R. Lagerhielm, polisdomaren G. A. Lind, kammarjunkare m.m O. G. Pauli m. fl., Stockholm, H. Bukowski, 1892.

Förteckning öfver en större samling oljemålningar af gamla och levande mästare, aqvareller,

pasteller och gravyrer, konstindustriföremål af guld, silfver och metall, antika möbler, vapen, porslin, glas m.m., samt böcejer och planschverk, hvilka tillhört framlidne Ryske ministern excell G. Okouniew, grefve Nils Gyldenstolpe, ståthållaren Baron C. A. Manderström, medicine professor P. H. Malmsten m. fl., Stockholm, H. Bukowski, 1884.

Förteckning öfver en större samling oljemålningar, miniatyrer, aqvareller, hanteckningar,

gravyrer, konstindustriflremål och plåtmynt, hvilka tillhört framlidne öfverceremonimästaren grefve Ph. v. Saltza, Baron A. Koskull m. fl., Stockholm, H. Bukowski, 1883.

Förteckning öfver framlidne donator, friherre Rudolf Cederströms m. fl. efterlemnade valda

samlingar af oljemålningar, konstindutriförmål i brons och porslin samt böcker rörande konst och industri m.m., Stockholm, H. Bukowski, 1888.

Förteckning öfver framlidne kammarherren m.m. Otto Blomstedts samt framlidne professorn i

Konstakademien m.m G. W. Palms m. fl. efterlemnade valda samlingar, Stockholm, H. Bukowski, 1891.

Gamla nederländska mästare: Utställning i Rapps Konsthandel, Hösten 1948, Stockholm,

Rapps Konsthandel, 1948. Gramlich, J., ‘Reflections on Provenance Research: Values – Politics – Art Markets’, Journal

for Art Market Studies, vol. 2, 2017, pp. 1-14. Granberg, O., Catalogue raisonné de tableaux anciens inconnus jusqu'ici dan les collections

privées de la Suède: tome premier, contenant 500 tableaux, principalement des écoles hollandaise et flamande du XVIIe siècle, Stockholm, Samson & Wallin, 1886. Avaliable from: Internet Archive, (accessed 2020-04-15).

Granberg, O., Inventaire général des trésors d'art, peintures & sculptures, principalement de

maîtres étrangers (non scandinaves) en Suède, Vol. 1., Stockholm, Cederquists Grafiska Aktiebolag, 1911. Available from: Internet Archive, (accessed 2020-04-20).

33

Granberg, O., Katalog öfver utställningen af äldre mästares taflor ur Svenska privatsamlingar anordnad till förmån för högskolefonden maj – juni 1884. (1884. Sthlm.), Stockholm, P. A. Norstedt & Söner, 1884. Available from: Kungliga biblioteket, (accessed 2020-04-22).

Granberg, O., Katalog öfver utsällningen af äldre mästares taflor: ur svenska privasamlingar,

i konstförenigengens f.d lokal, 19 maj-30 juni, 1893, Stockholm, Ivar Hæggströms boktryckeri, 1893. Available from: Internet Archive, (accessed 2020-04-20).

Granberg, O., Studier i tafvelsamlingen på Vanås, Stockholm, Kongl. Boktryckeriet, 1885.

Available from: Kungliga biblioteket, (accessed 2020-04-27). Hahr, A., ’Tidö: Rytterne socken, Snäfringe härad, Västmanlands län’, in A. Roosval (ed.),

Svenska slott och herresäten vid 1900-talets början. Västmanland, Stockholm, Lundquist, 1910, pp. 32.

Hallwylska Samlingen: beskrifvande förteckning. Grupp 32: Taflor I, Hallwylska museet,

Stockholm, A.-B. Centraltryckeriet, 1930. Haskell, F., The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition,

New Haven, Yale Univ. Press, 2000. Historiskt-geografiskt och statistiskt lexikon öfver Sverige: Sjunde Bandet. T-Ö, Stockholm,

A. Holmberg & Comp, 1866. Avaliable from: Projekt Runeberg, (accessed 2020-04-07).

Holländskt och Flamländskt måleri från 1500- och 1600-talen, Stockholm, Rapps

Konsthandel, 1952. Julauktion. Förteckning öfver en stor och dyrbar samling oljefärgstaflor, aqvareller och

miniatyrer, Stockholm, H. Bukowski, 1885. Julauktion. Förteckning öfver en omvexlande samling miniatyrer, oljefärgstaflor, aqvareller,

planschverk, konstintrustri-föremål, Stockholm, H. Bukowski, 1888. Julkatalog: förteckning öfver en dyrbar och omvexlande samling, Stockholm, H. Bukowski,

1893. Available from: Internet Archive, (accessed 2020-04-20). Karling, S., The Stockholm university collection of paintings: catalogue, Stockholm,

University of Stockholm, 1978.

34

Kemp, W., ‘The Work of Art and Its Beholder’, in M. A. Cheetham (ed.), The subjects of art

history: historical objects in contemporary perspectives, Cambridge, Cambridge University Press, 1998, pp. 180-196.

Laurin, C. G., Konsten i Sverige, Stockholm, Iduns Tryckeri-A.B., 1915. Avaliable from:

Projekt Runeberg, (accessed 2020-03-25). Lindahl, C. F., Svenska millionärer: minnen och anteckningar, Stockholm, P. A. Huldbergs

bokförlags-aktiebolag, 1897. Avaliable from: Projekt Runeberg, (accessed 2020-04-08). Lindahl, C. F., Svenska millionärer: minnen och anteckningar, Stockholm, Körrsners

Boktryckeri-Aktiebolag, 1900. Avaliable from: Projekt Runeberg, (accessed 2020-05-05).

Looström, L., J.A. Bergs tafvelsamling på Heleneborg i Stockholm 1880, Stockholm, A.

Lindmansson, 1880. Meadows, A., ‘Collecting seventeenth-century Dutch painting in England 1689-1760’, PhD

Thesis, University College London, 1988. Avaliable from: University College London (accessed 2020-04-03).

Mount, H. T., ‘The Reception of Dutch Genre Painting in England, 1695-1829’, PhD Thesis,

University of Cambridge, 1991. Avaliable from: University of Cambridge, (accessed 2020-04-01).

Nederländskt 1600-tals måleri: Utställning Norrköpings Museum, Stockholm, Rapps

Konsthandel, 1955. Pearce, S. M., ‘Collecting reconsidered’, in S. M. Pearce (ed.), Interpreting Objects and

Collections, London, Routledge, 1994, pp. 193-204. Pearce, S. M., On Collecting. An investigation into collection in the European tradition,

London, Routledge, 1995. Pomian, K., ‘The collection: between the visible and the invisible’, in S. M. Pearce (ed.),

Interpreting Objects and Collections, London, Routledge, 1994, pp. 160-174. Schulz, E., ‘Notes on the history of collecting and of museums’, in S. M. Pearce (ed.),

Interpreting Objects and Collections, London, Routledge, 1994, pp. 175-187.

35

Sirén, O., Beskrifvande förteckning öfver Stockholms högskolas tafvelsamling: jämte

konsthistorisk inledning, Uppsala, Almqvist & Wiksells boktryckeri-A.-B., 1912. Available from: Internet Archive, (accessed 2020-04-20).

Sirén, O., ’Stockholms Högskolas tafvelsamling’, Konst och konstnärer, vol. 2, 1911, pp. 85-

97. Avaliable from: Projekt Runeberg, (accessed 2020-04-28). Silfversparre, B.,’Ett Oxenstjerna-slott’, Hvar 8 dag, no. 24, 16 March 1913, p. 382.

Avaliable from: Projekt Runeberg, (accessed 2020-04-02). Sladen, O., ‘Faking History: How Provenance Forgery is Conning the Art World’, Journal of

Art Crime, vol. 3, 2010, pp. 47-60. Stilleben från 1600-talet, utställning i Rapps Konsthandel, Stockholm, Rapps Konsthandel,

1953.

Tamm, C., Österbysamlingen: “en rätt artig samling af målningar”, Mjölby, Atremi, 2008. Tham, W., Beskrifning öfver Westerås län, Stockholm, C. A. Bagges förlag, 1849. Avaliable

from: Projekt Runeberg, (2020-03-25). ’Tidö’, in T. Westrin (ed.), Nordisk familjebok. Tidsekvation-Trompe, 29th edn, Stockholm,

Nordisk familjeboks förl., 1919. Avaliable from: Projekt Runeberg, (accessed 2020-03-25).

Upmark, G., ’Ett par Västmanländska slott’, in E. Boheman (ed.), Svenska Turistföreningens

årsskrift, Stockholm, Wahlström & Widstrand, 1918, pp. 77-97. Avaliable from: Projekt Runeberg, (accessed 2020-04-02).

Internet sources Adelsvapen-wiki, [website],

https://www.adelsvapen.com/genealogi/Von_Schinkel_nr_2315#TAB_3 (accessed 2020-03-30).

Auktionnet, [website], https://auctionet.com/sv/1228992-erik-elfven-bymotiv-olja-pa-duk-

signerad (accessed 2020-05-08).

36

DigitaltMuseum, [website], https://digitaltmuseum.se/021018456650/galleriet-pa-tido-slott-vasteras (accessed 2020-04-28).

Svenskt biografiskt lexikon, [website], https://sok.riksarkivet.se/Sbl/Presentation.aspx?id=17143 (accessed 2020-04-08). Svenskt biografiskt lexikon, [website],

https://sok.riksarkivet.se/Sbl/Presentation.aspx?id=12455 (accessed 2020-04-20). Svenskt biografiskt lexikon, [website],

https://sok.riksarkivet.se/sbl/Presentation.aspx?id=10119 (accessed 2020-05-08). Svenskt biografiskt lexikon, [website], https://sok.riksarkivet.se/sbl/Presentation.aspx?id=6381

(accessed 2020-05-14).

37

LIST OF IMAGES

Figure 1. Attributed to Nicolaes Gillis, Breakfast-Piece, undated, oil on panel, 53.2 x 65.6 cm, Stockholm University

collection, Scheffler Palace.

Figure 2. Breakfast-Piece (back).

38

Figure 3. Ultraviolet image of Breakfast-Piece (back).

Figure 4. Detail of Breakfast-Piece.

39

Figure 5. Detail of Breakfast-Piece.

Figure 6. Detail of Breakfast-Piece.

40

Figure 7. Detail of Breakfast-Piece.

Figure 8. Detail of Breakfast-Piece.

41

Figure 9. Detail of Breakfast-Piece.

Figure 10. Erik Elfven, Bymotiv, oil on canvas, 62 x 45 cm, detail. Auktionnet, https://auctionet.com/sv/1228992-erik-elfven-

bymotiv-olja-pa-duk-signerad (accessed 2020-05-08).

Figure 11. Detail of Breakfast-Piece.

42

Figure 12. Detail of Breakfast-Piece.

Figure 13. B. Silfversparre,’Ett Oxenstjerna-slott’, Hvar 8 dag, No. 24, 16 March 1913, p. 382. Avaliable from: Projekt

Runeberg, (accessed 2020-04-02).

43

Figure 14. DigitaltMuseum, https://digitaltmuseum.se/021018456650/galleriet-pa-tido-slottvasteras (accessed 2020-04-28).

Figure 15. DigitaltMuseum, https://digitaltmuseum.se/021018456650/galleriet-pa-tido-slottvasteras (accessed 2020-04-28).

44

Figure 16. G. Upmark, ’Ett par Västmanländska slott’, in E. Boheman (ed.), Svenska Turistföreningens årsskrift, Stockholm,

Wahlström & Widstrand, 1918. Avaliable from: Projekt Runeberg, (accessed 2020-04-02).

45

Figure 17. Riksarkivet, Svea Hovrätt, Adliga bouppteckningar, 1913, Vol. E IX b: 391, Värdering av konstföremål å Tidö.

46

Figure 18. Riksarkivet, Svea Hovrätt, Adliga bouppteckningar, 1913, Vol. E IX b: 391, Förteckning öfver samlingarna på

Tidö.

Figure 19. Riksarkivet, Svea Hovrätt, Adliga bouppteckningar, 1913, Vol. E IX b: 391, Förteckning öfver samlingarna på

Tidö. f. 2. .

47

Figure 20. Förteckning å en samling original oljefärgs-taflor, hvilka, innan kort, komma å offentlig auktion i Brunkebergs

hotell försäljas, Stockholm, J. F. Meyer & Comp:s, 1857.