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New objects in the Timeline February 2019
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We want you to experience as much of our collections as possible, and therefore we will sometimes change the objects on display. There should almost always be something new to discover.
From early February 2019, a number of drawings, sketches and terra cotta studies are exchanged. When visiting the museum, look out for the “new” objects in the small galleries adjacent to the dark blue 17the century gallery and the yellow 18th century gallery. Another addition to the Timeline is the spectacular Seven Years’ Throne. You will find it in the gallery housing the turn of the 19th century art. Bruno Mathsson's workschair Eva is another newcomer, in the 1920 to 1965 gallery.
You can also experience the new objects via this online tour.
Text för fler Samlingar (Detta är locktexten för fler webbturer som visas längst ned på sidan):
In the museum building in Stockholm the collections are displayed chronologically along an imaginary timeline. See a selection from this timeline here.
Objektlista
Artist: Knut Fjaestad
Title: The Seven-Year Throne
Description:
Knut Fjaestad made this stump chair out of a log. It took him seven years, so it was named the Seven-Year Throne. He was a self-taught artist and began carving furniture rather late in life, inspired by his younger brother, Gustaf Fjaestad. To achieve relief effects and surface textures, Fjaestad combined whittling, oiling, tarring and burning techniques. Knut Fjaestad called his carved wood furniture “fantasy works”.
| Datafält | Värde |
| Title | The Seven-Year Throne |
| Designed and made by | Knut Fjaestad, Swedish, born 1860, dead 1937 |
| Technique/Material | Cut fir-tree |
| Dimensions | Dimensions 116 x 72 x 83 cm |
| Dating | Made 1908 - 1915 |
| Acquisition | Purchase 2018 Ann Stern Fund through Nationalmusei vänner |
| Inventory number | NMK 194/2018 |
Artist: Johan Tobias Sergel
Title: Mars and Venus, I, sketch
Description:
The Mars and Venus was probably made immediately following, or at the same time as, the Diomedes. The two sketches are also related in terms of content, as both warriors are shown as ready to defend a goddess against assault. This initial sketch, torn out of a sketchbook (the binding holes still present), also reveals that the model for the male figures was the same: one of the ancient Dioscuri on Monte Cavallo. Mars is, therefore, depicted as standing.
| Datafält | Värde |
| Title | Mars and Venus, I, sketch |
| Artist | Johan Tobias Sergel, Swedish, born 1740-08-28, dead 1814-02-26 |
| Technique/Material | Black chalk, pen and brown black ink, brown grey wash on paper |
| Dimensions | Dimensions 25,7 x 23,2 cm, Frame 58 x 45 x 3 cm |
| Dating | Made 1771 - 1772 |
| Acquisition | Purchase 1875 |
| Inventory number | NMH 883/1875 |
Artist: Johan Tobias Sergel
Title: Mars and Venus, IV, sketch
Description:
Sergel developed the composition further by having the kneeling figure of Mars receive the wounded Venus, who pleads with him to come to her aid. The artist had, in this instance, probably been looking at another ancient sculpture, The Dying Gaul. In a rapidly executed sketch in black chalk, he fervently seeks to focus the composition. He then proceeds to strengthen the forms using brownish black ink, before starting his work in clay.
| Datafält | Värde |
| Title | Mars and Venus, IV, sketch |
| Artist | Johan Tobias Sergel, Swedish, born 1740-08-28, dead 1814-02-26 |
| Technique/Material | Black chalk, pen and brown black ink on paper |
| Dimensions | Dimensions 26,9 x 14,6 cm, Passepartout 55 x 42 cm |
| Acquisition | Purchase 1875 |
| Inventory number | NMH 1021/1875 |
Artist: Johan Tobias Sergel
Title: Venus and Anchises, sketch
Description:
In this sketch for his sculpture group, Sergel shows us how he is trying compositionally to solve a challenging problem of characterisation. Venus, in love, throws herself into the arms of the unexpectant shepherd Anchises. For Sergel the problem was how to portray the union of two bodies with divergent emotions.
| Datafält | Värde |
| Title | Venus and Anchises, sketch |
| Artist | Johan Tobias Sergel, Swedish, born 1740-08-28, dead 1814-02-26 |
| Technique/Material | Black chalk, pen and brown black ink, brown grey wash on paper |
| Dimensions | Dimensions 20,9 x 15,5 cm, Passepartout 55 x 42 cm |
| Acquisition | Purchase 1875 |
| Inventory number | NMH 896/1875 |
Artist: Johan Tobias Sergel
Title: Jupiter and Juno
Description:
Brute masculine strength versus female beauty was a recurrent theme in Sergel’s sculpture groups during the years in Rome. The first of several pairs of lovers from mythology he sculpted was Jupiter and Juno. It shows lessons learned from the likes of Raphael. Here Sergel has Jupiter trying to coax his wife, who has been placed between the old god’s knees, while the eagle looks on with disapproval.
| Datafält | Värde |
| Title | Jupiter and Juno |
| Artist | Johan Tobias Sergel, Swedish, born 1740-08-28, dead 1814-02-26 |
| Technique/Material | Terracotta |
| Dimensions | Dimensions 45 x 34 x 29 cm, Vikt 21 kg |
| Dating | Made ca 1770 - 1771 |
| Acquisition | Transferred 1865 from Kongl. Museum |
| Inventory number | NMSk 489 |
Artist: Johan Tobias Sergel
Title: Venus and Anchises
Description:
This sculpture group can be seen as a companion piece to the Jupiter and Juno pair: Venus falling madly in love with the Trojan shepherd Anchises. Sergel has the goddess of love as the active party, while the earthly Anchises clasps her knee and shoulder with some hesitation. For all his physical power, the muscular shepherd is the passive party.
| Datafält | Värde |
| Title | Venus and Anchises |
| Artist | Johan Tobias Sergel, Swedish, born 1740-08-28, dead 1814-02-26 |
| Technique/Material | Terracotta |
| Dimensions | Dimensions 37 cm |
| Dating | Made 1775 |
| Acquisition | Purchase 1815 |
| Inventory number | NMSk 491 |
Artist: Johan Tobias Sergel
Title: Mars and Venus
Description:
Having tried various ways of achieving a coherent composition, Sergel finally chose to emphasise the resignation and pain of Venus, who falls across Mars’ knee in a stupor. In the terracotta modello, the two bodies are closely entwined, but their emotional expressions are contrasted. Mars here represents determination and strength, while Venus appears increasingly defenceless.
| Datafält | Värde |
| Title | Mars and Venus |
| Artist | Johan Tobias Sergel, Swedish, born 1740-08-28, dead 1814-02-26 |
| Technique/Material | Terracotta |
| Dimensions | Dimensions 37 cm |
| Dating | Made ca 1771 - 1772 |
| Acquisition | Övertagande 1866 från Kongl. Museum (inköpt 1815 av Kongl. museum ur konstnärens dödsbo) |
| Inventory number | NMSk 490 |
Artist: Johan Tobias Sergel
Title: Venus rising from the Waves
Description:
Since the early 1770s Sergel had been working on a sculpture of Venus, modelled on the famous Hellenistic marble work, the Venus de’ Medici. In his version the naked goddess of love is emerging from the sea and drying herself. She makes no effort to conceal her nudity, and a gust of wind takes hold of the cloth. As usual Sergel has made do with few accessories – a seashell and an altar.
| Datafält | Värde |
| Title | Venus rising from the Waves |
| Artist | Johan Tobias Sergel, Swedish, born 1740-08-28, dead 1814-02-26 |
| Technique/Material | Terracotta |
| Dimensions | Dimensions 32 cm |
| Dating | Made ca 1773 |
| Acquisition | Purchase 1815 |
| Inventory number | NMSk 493 |
Artist: Carl Hårleman
Title: Earliest Proposal for the Chinese Pavilion at Drottningholm. Front elevation and plan
Description:
On her birthday on 24 July 1753, Queen Lovisa Ulrika was surprised by a new edifice adjoining the pleasure garden at Drottningholm – the Chinese Pavilion. Besides her consort, Adolf Fredrik, several other people had been involved in its creation, including Carl Gustaf Tessin and Carl Hårleman. This drawing for the main building, with chinoiserie dragons, palm trunks and basketwork-patterned walls, has been ascribed to the latter.
| Datafält | Värde |
| Title | Earliest Proposal for the Chinese Pavilion at Drottningholm. Front elevation and plan |
| Artist | Carl Hårleman, Swedish, dead 1753-02-09, born 1700-08-27 |
| Technique/Material | Pen and graphite, grey ink, grey wash and watercolour on paper |
| Dimensions | 35,5 x 52,2 cm |
| Dating | Executed c. 1753 |
| Acquisition | Gift 1941 Eric Langenskiöld |
| Inventory number | NMH CC 360 |
Artist: Lambert van Noort
Title: Studies of an Elephant
Description:
According to an inscription, these studies were made after a live elephant in Amsterdam in October 1563. The animal was a diplomatic gift from the King of Portugal to the Duke of Bavaria and had recently been shipped out from the colonies. There were few opportunities in northern Europe to see such exotic species. Through skilful use of red chalk, the artist achieved a realistic rendering of the elephant’s coarse, wrinkled skin.
| Datafält | Värde |
| Title | Studies of an Elephant |
| Artist | Lambert van Noort, Dutch, born c. 1520, dead between 1570-09-01 and 1571-06-24 |
| Technique/Material | Red chalk, detail in black chalk (eye at right) |
| Dimensions | Dimensions 40,3 x 28,1 cm, Passepartout 42 x 32 cm |
| Dating | Made 1563 |
| Acquisition | Transferred 1866 from Kongl. Museum |
| Inventory number | NMH Z 384/1957 |
Artist: Lucas van Uden
Title: Landscape with a Group of Trees by a Sandy Road
Description:
With its gnarled trunk and coiling roots, the old tree gives the impression of having been drawn on site. The richly detailed draughtsmanship and exquisite technique, however, indicate that it was probably made in the artist’s studio. It can be seen as a work of art in its own right. Van Uden based this piece on his own nature studies as well as works by other Flemish artists.
| Datafält | Värde |
| Title | Landscape with a Group of Trees by a Sandy Road |
| Artist | Lucas van Uden, Flemish, born 1595, dead 1672 |
| Technique/Material | Black chalk, charcoal, heightened with white chalk and white body colour, on paper tinted with a blue wash |
| Dimensions | Frame 60 x 47 x 3,5 cm, Passepartout 55 x 42 cm , Dimensions 30 x 21,1 cm |
| Dating | Made 1640s |
| Acquisition | Transferred 1866 from Kongl. Museum |
| Inventory number | NMH 1956/1863 |
Artist: Roelant Savery
Title: Memento mori
Description:
This painting with its animal skeletons and skulls interspersed with living animals and insects could be interpreted as a reminder of the fact that everything is finite. The title suggests this: remember that you are mortal. Symbolism of this kind was common and was meant to urge people to reflect, and caution against sinful living. The artist Savery had spent time as court painter to the emperor Rudolf II in Prague. The painting was probably produced at the emperor’s court, where there was great interest in nature and zoology.
| Datafält | Värde |
| Title | Memento mori |
| Artist | Roelant Savery, Flemish, born 1576, dead 1639 |
| Technique/Material | Oil on oak |
| Dimensions | Dimensions 20,3 x 23,5 x 0,6 cm, Frame 29,5 x 33 x 5,5 cm |
| Dating | Made c. 1610 - 1612 |
| Acquisition | Purchase 1995 |
| Inventory number | NM 6936 |
Artist: Hans Rottenhammer
Title: Danaë and the Shower of Gold
Description:
| Datafält | Värde |
| Title | Danaë and the Shower of Gold |
| Artist | Hans Rottenhammer, German, born 1564, dead 1625, Manner of |
| Technique/Material | Olja på koppar |
| Dimensions | Dimensions 20,9 x 25 x 0,1 cm, Frame 26 x 30 x 2 cm |
| Acquisition | Övertagande 1866 från Kongl. Museum. (Lovisa Ulrika 1760) |
| Inventory number | NM 237 |
Artist: Jan van Kessel d.ä.
Title: Allegory of Fire (Emblems of War)
Description:
| Datafält | Värde |
| Title | Allegory of Fire (Emblems of War) |
| Artist | Jan van Kessel d.ä., Flemish, born 1626, dead 1679 |
| Technique/Material | Oil on copper |
| Dimensions | Dimensions 19 x 25 cm, Frame 29 x 36 x 5 cm |
| Acquisition | Gåva 1869 av Axel Gabriel Bielke |
| Inventory number | NM 1082 |
Artist: Annibale Carracci
Title: Portrait of the Artist Ludovico Cardi, called Cigoli
Description:
Annibale Carracci’s portrait of the Florentine painter Cigoli was probably drawn after 1604, when Cigoli moved to Rome and the two were in close contact with each other. According to their biographers, both were sensitive intellectuals with a melancholy temperament. This portrait can be seen as a tribute to their friendship.
| Datafält | Värde |
| Title | Portrait of the Artist Ludovico Cardi, called Cigoli |
| Artist | Annibale Carracci, Italian, born 1560, dead 1609 |
| Technique/Material | Red chalk on paper |
| Dimensions | Dimensions 21 x 16,5 cm, Passepartout 55 x 42 cm , Frame 60 x 47 x 3,5 cm |
| Dating | Made ca 1604 - 1609 |
| Acquisition | Transferred 1866 from Kongl. Museum |
| Inventory number | NMH 944/1863 |
Artist: Jan de Bray
Title: Portrait of a Boy
Description:
This tender portrayal of a dreamy-eyed young boy is typical of de Bray’s meticulous portrait studies after live models. Black, red, and white chalk are combined in a sophisticated manner. The boy’s fashionable attire suggests that he came from a wealthy family in Haarlem, where de Bray spent most of his life.
| Datafält | Värde |
| Title | Portrait of a Boy |
| Artist | Jan de Bray, Dutch, born c. 1627, dead 1697-12-04 |
| Technique/Material | Black, red and white chalk on paper |
| Dimensions | Frame 60 x 47 x 3,5 cm, Dimensions 29,2 x 19,7 cm , Passepartout 55 x 42 cm |
| Dating | Made c. 1660 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMH 1868/1863 |
Artist: Albrecht Dürer
Title: Portrait of a Young Woman with braided hair
Description:
The unfocused gaze of the young woman underlines her contemplative expression. No northern European artist had ever captured their model’s personality with such intensity. The artist’s ‘painterly’ execution makes this drawing a work of art in its own right. The identity of the sitter has been the subject of speculation; some say she was the sister of Dürer’s close friend, the humanist Willibald Pirckheimer.
| Datafält | Värde |
| Title | Portrait of a Young Woman with braided hair |
| Artist | Albrecht Dürer, German, born 1471, dead 1528 |
| Technique/Material | Black chalk and charcoal on paper |
| Dimensions | Dimensions 42,3 x 29,4 cm, Passepartout 65 x 50 cm , Frame 70 x 55 x 3,5 cm |
| Dating | Made 1515 |
| Acquisition | Transferred 1866 from Kongl. Museum |
| Inventory number | NMH 1855/1863 |
Artist: François Quesnel
Title: Portrait of Christine de Lorraine (?)
Description:
An exquisite new style of portraiture emerged at the French royal court in the late 16th- century, with sensitive, psychological portraits in chalk. Quesnel developed the genre, adding colours to the cheeks, lips and hair in his studies. The model has been identified as Christine de Lorraine (1565 – 1637), daughter of Charles II de Lorraine, and wife of Grand Duke Ferdinand I of Tuscany.
| Datafält | Värde |
| Title | Portrait of Christine de Lorraine (?) |
| Artist | François Quesnel, French, born 1543, dead 1617 |
| Technique/Material | Black and red chalk on paper |
| Dimensions | Dimensions 30 x 21 cm, Passepartout 55 x 42 cm , Frame 60 x 47 x 3,5 cm |
| Dating | Made ca 1582 |
| Acquisition | Purchase 1974 |
| Inventory number | NMH 117/1974 |
Artist: Peter Paul Rubens
Title: Robin, the Dwarf of the Earl of Arundel
Description:
Traveling to Padua in the summer of 1620, the English Countess of Arundel stopped at Antwerp. Rubens made sketches there for a group portrait of her retinue, including this portrait of Robin. Rubens drew the face with a few swift strokes. He focused on the costume and made notes of colours and fabrics, such as satin and velvet. In the painted portrait (Alte Pinakothek, Munich), a falcon is perched on Robin’s outstretched arm.
| Datafält | Värde |
| Title | Robin, the Dwarf of the Earl of Arundel |
| Artist | Peter Paul Rubens, Flemish, born 1577, dead 1640 |
| Technique/Material | Red and black chalk, pen and brown ink, traces of white chalk on paper |
| Dimensions | Passepartout 65 x 50 cm, Frame 70 x 55 x 3,5 cm , Dimensions 40,8 x 25,8 cm |
| Dating | Made 1620 |
| Acquisition | Transferred 1866 from Kongl. Museum |
| Inventory number | NMH 1913/1863 |
Artist: Hendrick Goltzius
Title: Self-Portrait
Description:
During a stay in Italy 1590-91, Goltzius drew a series of realistic portraits of famous artists, probably as gifts to them. This self-portrait was probably drawn around that time and shows Goltzius’ skilful handling of chalk. The costume is sketchily drawn, but every hair of his beard and elegant moustache is discernible. The artist rubbed the chalk to achieve the appearance of smooth skin.
| Datafält | Värde |
| Title | Self-Portrait |
| Artist | Hendrick Goltzius, Dutch, born 1558, dead 1617 |
| Technique/Material | Black, red and yellow chalk, watercolours traces of stylus. Framing line in brown ink. Watermark. |
| Dimensions | Dimensions 36,5 x 29,2 cm, Passepartout 55 x 45 cm , Frame 60 x 50 x 3,5 cm |
| Dating | Made ca 1590-1591 |
| Acquisition | Transferred 1866 from Kongl. Museum |
| Inventory number | NMH 1867/1863 |
Artist: Federico Zuccaro
Title: Portrait of a Bearded Monk
Description:
This realistic and expressive portrait study is thought to have belonged to a series of portrait drawings of monks at the monastery in Vallombrosa (Tuscany), which Zuccaro later painted in the dome of Santa Maria del Fiore, Florence. In this portrait, the model turns toward the viewer, producing a lively impression.
| Datafält | Värde |
| Title | Portrait of a Bearded Monk |
| Artist | Federico Zuccaro, Italian, dead 1609, born between 1539 and 1542 |
| Technique/Material | Black and red chalk on paper |
| Dimensions | Passepartout 55 x 42 cm, Frame 60 x 47 x 3,5 cm , Dimensions 21,5 x 18,4 cm |
| Dating | Made ca 1576 - 1577 |
| Acquisition | Transferred 1866 from Kongl. Museum (Carl Gustaf Tessin) |
| Inventory number | NMH 492/1863 |
Artist: Adriaen van Ostade
Title: Peasant Seated on a Bench
Description:
| Datafält | Värde |
| Title | Peasant Seated on a Bench |
| Artist | Adriaen van Ostade, Dutch, born 1610, dead 1685, Manner of |
| Technique/Material | Graphite, pen and brown ink, watercolour and white body colour |
| Dimensions | 11,4 x 9,4 cm |
| Dating | Made 1640s |
| Acquisition | Transferred 1866 from Kongl. Museum |
| Inventory number | NMH 2135/1863 |
Artist: Adriaen van Ostade
Title: Carousing Peasants in a Tavern with a Fiddler
Description:
Gathered around a table in a tavern, a group of peasants drink, smoke and make merry. Van Ostade specialized in good-humored peasant scenes, relishing the picturesque clutter of their rustic milieu. This drawing is not a preparatory study for a painting but an independent work of art.
| Datafält | Värde |
| Title | Carousing Peasants in a Tavern with a Fiddler |
| Artist | Adriaen van Ostade, Dutch, born 1610, dead 1685 |
| Technique/Material | Graphite, pen and brown ink, grey-brown wash |
| Dimensions | Dimensions 17,7 x 27,2 cm, Passepartout 42 x 55 cm , Frame 47 x 60 x 3,5 cm |
| Dating | Made c. 1640 - 1645 |
| Acquisition | Transferred 1863 Kongl. Museum |
| Inventory number | NMH 2139/1863 |
Artist: Pieter Jansz. Quast
Title: Old Man Seated on an Overturned Basket
Description:
Signed in the lower right corner, in graphite, with a monogram PQ. Inscribed van Kwast (struck out) and numbered 145 (struck out) and 1958 (Sparre), in pen and brown ink. Mark of the Royal Collection (Lugt 1638).
Provenance: Crozat; C. G. Tessin (List 1739–42, p. 67; Cat. 1749, livre 15, no. 145); Kongl. Biblioteket (Cat. 1790, no. 1958); Kongl. Museum (Lugt 1638).
This drawing forms a pair with the former one [NMH 2160/1863]. They are the same size and technique, and both are surrounded by a one centimetre wide area defined by graphite lines. The first drawing depicts an old woman, the second an old man, both of them seated on a basket turned upside down, against a dune landscape with small groups of people in the background. According to the 1967 catalogue, the woman wears Scheveningen dress. [Magnusson, Dutch Drawings no. 301]
Provenance: Crozat; C. G. Tessin (List 1739–42, p. 67; Cat. 1749, livre 15, no. 145); Kongl. Biblioteket (Cat. 1790, no. 1958); Kongl. Museum (Lugt 1638).
This drawing forms a pair with the former one [NMH 2160/1863]. They are the same size and technique, and both are surrounded by a one centimetre wide area defined by graphite lines. The first drawing depicts an old woman, the second an old man, both of them seated on a basket turned upside down, against a dune landscape with small groups of people in the background. According to the 1967 catalogue, the woman wears Scheveningen dress. [Magnusson, Dutch Drawings no. 301]
| Datafält | Värde |
| Title | Old Man Seated on an Overturned Basket |
| Artist | Pieter Jansz. Quast, Dutch, born ca 1605, dead 1647 |
| Technique/Material | Graphite on parchment |
| Dimensions | Dimensions 15,3 x 14 cm |
| Dating | Made 1630s |
| Acquisition | Transferred 1866 from Kongl. Museum |
| Inventory number | NMH 2159/1863 |
Artist: Pieter Jansz. Quast
Title: Old Woman Seated on an Overturned Basket
Description:
Signed in the lower left corner, in graphite, with a monogram PQ. Numbered in the lower right corner, in pen and brown ink, 146 (struck out) and 1959 (Sparre). Mark of the Royal Collection (Lugt 1638).
Provenance: Crozat; C. G. Tessin (List 1739–42, p. 67; Cat. 1749, livre 15, no. 146); Kongl. Biblioteket (Cat. 1790, no. 1959); Kongl. Museum (Lugt 1638).
Exhibitions: Stockholm 1967, no. 228.
This drawing forms a pair with the next one [NMH 2159/1863]. They are the same size and technique, and both are surrounded by a one centimetre wide area defined by graphite lines. The first drawing depicts an old woman, the second an old man, both of them seated on a basket turned upside down, against a dune landscape with small groups of people in the background. According to the 1967 catalogue, the woman wears Scheveningen dress. [Magnusson, Dutch Drawings no. 300]
Provenance: Crozat; C. G. Tessin (List 1739–42, p. 67; Cat. 1749, livre 15, no. 146); Kongl. Biblioteket (Cat. 1790, no. 1959); Kongl. Museum (Lugt 1638).
Exhibitions: Stockholm 1967, no. 228.
This drawing forms a pair with the next one [NMH 2159/1863]. They are the same size and technique, and both are surrounded by a one centimetre wide area defined by graphite lines. The first drawing depicts an old woman, the second an old man, both of them seated on a basket turned upside down, against a dune landscape with small groups of people in the background. According to the 1967 catalogue, the woman wears Scheveningen dress. [Magnusson, Dutch Drawings no. 300]
| Datafält | Värde |
| Title | Old Woman Seated on an Overturned Basket |
| Artist | Pieter Jansz. Quast, Dutch, born ca 1605, dead 1647 |
| Technique/Material | Graphite on parchment |
| Dimensions | Dimensions 15 x 13,4 cm |
| Dating | Made 1630s |
| Acquisition | Transferred 1866 from Kongl. Museum (Lugt 1638) |
| Inventory number | NMH 2160/1863 |
Artist: Bruno Mathsson
Title: Workchair Eva
Description:
Mathsson learned cabinet-making from his father and read textbooks to find out more. Inspired by the ideas of Functionalism, he explored the “mechanics of sitting” by seating himself in piles of snow and then measuring the imprints made by his body. He converted the measurements into durable furniture in creative shapes with built-in springiness made of laminated wood . This resource-efficient technique consists of gluing layers of wood veneer together and inserting them into a pressing tool. When the glue hardens, the wood retains the shape it was moulded into.
| Datafält | Värde |
| Title | Workchair Eva |
| Design | Bruno Mathsson, Swedish, born 1907, dead 1988 |
| Manufacturer | Firma Karl Mathsson |
| Technique/Material | Laminated beech wood, braided jute saddle-girth |
| Dimensions | Dimensions 83 x 49 cm |
| Dating | Designed 1934, Manufactured 1935 , Designed 1934 |
| Acquisition | Purchase 1959 |
| Inventory number | NMK 49/1959 |