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Hidden treasures from the Thiel Gallery collection
June 6 — August 16 2020

Oskar Bergman, May, 1910, Thiel Gallery

The magnificent rooms of the Thiel Gallery are always filled with art from around 1900 collected by the banker and patron of the arts Ernest Thiel. But this unique collection consists of nearly 900 works and there is not enough room to show everything in the building. More art is stored in the museum’s warehouse.

This summer exhibition features some gems from the collection, works that are rarely shown in public and highlight Thiel’s diversity as an art collector. The presentation includes well-known works by famous Nordic artists such as Edvard Munch, Isaac Grünewald and Gösta Adrian-Nilsson, and the French artists Auguste Renoir and Édouard Manet. Works by Swedish and European artists who were popular a century ago but are now forgotten are also on show, along with paintings that reveal an interest in older art history.

The exhibition is thematic and presents some 40 works from the Thiel Gallery collection – from 16th-century German Renaissance portraits, to French 19th-century Impressionists and 20th-century paintings of Swedish rural and urban landscapes and people. Come and discover new aspects of Ernest Thiel’s art collection!

The exhibition is based on the ongoing digitisation project ”Hemmuseum som digitalt kulturarv. Thielska Galleriet” (The Home Museum as a Cultural Heritage. The Thiel Gallery). The Gallery’s art and archives have been photographed and registered, and this process has opened our eyes to individual artists and works and given us a greater knowledge about the collection.

Lucas Cranach the older, Portrait of the Duchess Catherine, undated, Thiel Gallery

Artur Bianchini, The Gate, 1898, Thiel Gallery

Stefan Johansson, Portrait of the Artist's Mother, 1903, Thiel Gallery

Carl Larsson, Seventeen, 1902, Thiel Gallery

Isaac Grünewald, Portrait of Mrs. Ise Morssing, 1910, Thiel Gallery


The Experimental Self: Edvard Munch’s Photography
8 February – 31 May 2020

Press conference at 10 am Thursday 6 February
After the tour, the museum offers coffee and cake
RSVP info@thielskagalleriet.se

Self portrait ”à la Marat” by the bathtub at dr Jacobsons clinic, Copenhagen, 1908-09. Photo: Edvard Munch. Munchmuseet, Oslo.

Edvard Munch (1863-1944) bought his first camera in February 1902. He used photography as an experimental medium and often placed himself in front of the lens. Munch was a curious photographer who exploited the effects of apparent "mistakes" such as distortions, blurred movements and unusual camera angles. The photographic experiments have a clear relation to the artist's design language in painting and graphics, but Munch did not display the photographs publicly. The investigative and poetic pictures show the artist himself and his immediate surroundings: "selfies" from the nerve clinic, the beach or the garden in the home outside Oslo.

Munch photographed for two periods. The first began in 1902, the same year as his long-standing relationship with Tulla Larsen ended with a wet shot that injured one of the artist's fingers. The time was also marked by the fact that his career had gained momentum, which contributed to an emotional crisis culminating in a rest course at Dr. Daniel Jacobson's private clinic in Copenhagen in 1908-1909. At that time Ernest Thiel was one of Munch's most important patrons and acquired a large collection of the artist's work for the Thielska Gallery. Munch's second active period as a photographer, when he also tried on amateur films, lasted from 1927 to the mid-1930s. However, successful retrospective exhibitions in Berlin and Oslo, as well as a bleeding in the right eye, which damaged Munch's vision, put an end to more experiments.

The exhibition Edvard Munch's photographs. The experimental self aims to show a page of Munch's creation that is unknown to many, but which was an obvious part of his artistic work. The exhibition will contain about 50 images printed after the originals at the Munch Museum in Oslo. A selection of Edvard Munch's graphic magazines, taken from the Thielska Galleriet's own collection, is shown together with the borrowed works.

The exhibition is produced in collaboration with the Munch Museum, Oslo.

The exhibition was originally produced by The American-Scandinavian Foundation / Scandinavia House, in collaboration with the Munch Museum, Oslo and displayed at Scandinavia House, New York.

With twelve oil paintings and almost a hundred graphic magazines, the Thiel Gallery has one of the largest collections of Edvard Munch's art outside Norway. Art collector Ernest Thiel in Stockholm was Munch's most important patron during a period in the early 1900s and bought most of the works directly by the artist. The Munch Hall at the museum is named after the Norwegian artist, and his paintings still hang today. Read more about the Munch collection at the Thiel Gallery

Edvard Munch paining on the beach in Warnemünde, 1907. Photo: Edvard Munch. Munchmuseet, Oslo.

Edvard Munch, in glasses, in front of two watercolours, Ekely, ca 1930. Photo: Edvard Munch. Munchmuseet, Oslo.

Edvard Munch on a suitcase in his studio at Lützowstrasse 82, Berlin, 1902. Photo: Edvard Munch. Munchmuseet, Oslo.

Self portrait with hat and sunglasses, Ekely,1930. Photo: Edvard Munch. Munchmuseet, Oslo.

Edvard Munch, Evening, 1902, wood cut. The Thiel Gallery.

Edvard Munch, The sick child, 1896, lithography. The Thiel Gallery.

Edvard Munch, Self-portrait, 1895, lithography. The Thiel Gallery.


Augusta Lundin. The First Fashion House in Sweden
29 augusti 2020 — 24 januari 2021

Augusta Lundin, 1911, Göteborgs stadsmuseum

Press release at 10 am Friday August 28
RSVP info@thielskagalleriet.se

Augusta Lundin is regarded as Sweden’s first couture-seamstress and created dresses of the highest splendour. Her creations followed the currents of contemporary European fashion and they were worn by the royalty and the upper-class, but also by members of the cultural sphere.

Lundin was a very important figure in Swedish fashion history, but her creations and works are surprisingly unknown to the public.

Lundin collaborated with Otto Gustaf Bobergh who had started the first established haute couture store, Maison Worth & Bobergh, together with the British tailor Charles Frederick Worth in 1858. After the meeting with Bobergh, Lundin travelled to Paris at least once a year to get inspiration and to spread European fashion to Sweden. The exhibition is the first to put the pioneering work of Augusta Lundin in focus and contribute to the knowledge about a forgotten history of the Swedish fashion culture.

The exhibition tells the story about Augusta Lundin as a dynamic creator and entrepreneur around the turn of the twentieth century. The conditions of creation and the organisation of work, the clients` role and the taste of the time, the clothes` social functions and aesthetic quality are thematised and displayed with costumes, objects and images in the exhibition. The lavish historical clothes are the core objects in the exhibition, but with a number of non-finished items which gives the viewer the opportunity to see the work of the inside of the clothes and get an insight of the challenges of French sewing.

This exhibition is made in close collaboration with the two curators and experts on fashion Anna Bergman and Lotta Lewenhaupt. It is produced together with Malmö Museums and the Museum of Gothenburg (Göteborgs stadsmuseum).

The exhibition will be displayed at the Thiel Gallery in Stockholm during the period August 29 2020 – January 24 2021, thereafter at Malmö museums and at Museum of Gothenburg.

Augusta Lundin's studio, Stadsmuseet

Robert Lundberg, Portrait of Augusta Lundin, 1891, private collection

 

Augusta Lundin, 1913, Göteborgs stadsmuseum

Augusta Lundin, eveningdress. silk, 1893, Malmö museums

Augusta Lundin, 1904, Göteborgs stadsmuseum

Augusta Lundin, 1904, Göteborgs stadsmuseum

Augusta Lundin, Flâneur costume, 1880s, Hallwylska Museet

Augusta Lundin, 1913, Göteborgs Stadsmuseum

Augusta Lundin, c. 1913, Göteborgs stadsmuseum


Hjalmar Söderberg and the arts. A jubilee exhibition
19 September 2019–14 February 2021

 

Gerda Wallander, Portrait of Hjalmar Söderberg, 1916, oil on canvas, 114 x 69 cm. Photo: Thielska Galleriet

In 2019 the author Hjalmar Söderberg (1869–1941) would have turned 150 years old. The Thiel Gallery celebrates this jubilee with an exhibition that highlights the author`s relation to the arts. The exhibition shows portraits of Söderberg and drawings made by Söderberg himself. Books with ornaments made by the author and other objects that relates to Söderberg are also exhibited.

Ernest Thiel and Hjalmar Söderberg were very good friends and the author used to stay in a room at the Thiel Gallery when visiting Ernest Thiel. The two friends sent letters to each other for about 30 years and shared the interest of playing chess.

Curator: Sophie Allgårdh, collaboration with Söderbergsällskapet

PRESS
sophie.allgardh@thielskagalleriet.se
0708-45 60 87

Astrid Kjellberg-Juel, Portrait of Hjalmar Söderberg, 1912, oil on canvas. Belonging to Bonniers portrait collection. Photo: Per Myrehed

Hjalmar Söderberg, Self portrait, 1895, ink wash. Belonging to Bonniers portrait collection, Nedre Manilla. Photo: Per Myrehed

Hjalmar Söderberg, The church tower of Saint Clare, 1884, crayon on paper, Göteborgs universitetsbibliotek. Photo: Per Myrehed

Sigge Bergström, Portrait of Hjalmar Söderberg, 1919. The wood cut initiated Vängåvan to Hjalmar Söderberg's fiftieth anniversary that year. The figures in the right corner are probably inspired by Hjalmar Söderberg's descriptions from the first scene in Gertrud (1906) with her and her husband, Gustaf Kanning, He has "no hair" and she is "tall and graced with rich brown hair".

Hjalmar Söderberg greets Niels Hansens Jacobsen sculpture Troll that hunts for Christian flesh outside Jesuskyrkan in Storköpenhamn 1907. Photo: Birger Mörner

Hjalmar Söderberg, Self portrait "Moi", 1890, pencil

 

Hjalmar Söderberg, Maria von Platen from memory, undated, drawing. Göteborgs universitetsbibliotek. Photo: Per Myrehed

Anna Riwkin, The author Hjalmar Söderberg, ca 1936, silver gelatin photography. Moderna Museet. Photo: Anna Riwkin

Yngve Berg, Portrait of Hjalmar Söderberg, 1947, ink wash,  Bonniers portrait collection. Photo: Per Myrehed

Albert Engström, Caricature of Hjalmar Söderberg, the original of the image that was printed for the perennial series "Medmänniskor" in Engström's magazine Strix.

Hjalmar Söderberg, It darkens across the road, gift to brother in law Alban Keyser, drawing.

Hjalmar Söderberg, vignette proposal to Jahves fire (1918) with Moses adorned by a bull's mask, serpent staff and
stone tablets +the proposition was accepted with only the bull's mask and serpent staff.