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Comfortable Everyday Life at the Swedish Eighteenth-Century Näs Manor

Comfortable Everyday Life at the Swedish Eighteenth-Century Näs Manor

During the eighteenth century, comfortable everyday life becomes a new ideal. The good life was no longer about grand representation or the manifestation of material opulence. The new luxury was instead the comfortably arranged life at home. This book is about the traces of this change, its approach and consequences and its anchoring in the material and social life of the Swedish manor. The comfort revolution of the eighteenth century was clearly associated with both new types of furniture and new ways of furnishing. An important aspect of the development of comfort was the new mobility and flexibility in form and function that the home and its interior now showed. Through the home of the Wadenstierna family on the country estate of Näs, north of Stockholm, the comfortable everyday life is set by their various tables – at writing desks, sewing tables, dressing tables, coffee tables and games tables.
  • Cover
  • Table of Contents
    • Acknowledgements
    • Introduction
      • Comfort as an idea and practice
      • Comfort for all?
      • Aim, materials and method
      • Theoretical starting points
      • Previous research
      • To the table! Disposition of the study
    • 1. Carl Eric Wadenstierna and Näs Manor
      • Näs and country life as ideal
      • Comfortable everyday life
      • Luxury and comfort
      • Taste, cultivation and nature
      • Books, socialising and silhouettes
      • Family pictures
    • 2. At the sewing table
      • Jacobina Sophia Psilanderhielm af Seulenberg
      • The significance of textiles
      • The exemplary women of the eighteenth century
      • Needlework, conversation and gender
      • The utility of luxury: Wadenstierna and the debate on luxury
      • Never being unoccupied
    • 3. At the writing table
      • Letter writing and comfort: Women’s furniture à la mode
      • Writing and reading: The Wadenstierna sisters and the library at Näs
      • ‘The cabinet’: A room of her own for Fredrica Carleson
      • Letter writing: A female genre
      • A pictorial world full of letters
      • In the studies and cabinets at Näs
    • 4. At the dressing table
      • French role models and complications
      • Dressing tables, fashion images and portraits
      • Criticism of dressing table culture
      • ‘Toilette kammaren’: The dressing room at Näs
      • The dressing room and Pehr Hilleström’s paintings at Näs
      • Toilette in a time of change
    • 5. At the games tables
      • Around the games tables and billiard table at Näs
      • The significance of billiards during the eighteenth century
      • The rules of the game
      • Private billiards and public gambling clubs
      • Women who played games
      • Back to Näs
    • 6. At the coffee table
      • Coffee drinking and coffee criticism
      • Intimate conversations: Coffee drinking and manorial culture
      • Coffee at home with the Wadenstierna family
    • Concluding words
      • Pictures and tables
      • Social roles
      • Swedish?
      • The picture of comfort
    • Bibliography and sources
    • Index
  • List of illustrations
    • Colour plates
      • Plate 1. Niclas Lafrensen the Younger, Jacobina Sophia Psilanderhielm von Seulenberg (1733–1768). Watercolour and gouache on ivory, 8.5 × 6 cm. Nationalmuseum, Stockholm (NMGrh 4324).
      • Plate 2. Niclas Lafrensen the Younger, Carl Eric Wadenstierna (1723–1787). Watercolour and gouache on ivory, 8.5 × 6 cm. Nationalmuseum, Stockholm (NMGrh 4323).
      • Plate 3. Niclas Lafrensen the Younger, Fredrica Carleson (1743–1794). Watercolour and gouache on ivory, 8.5 × 6 cm. Nationalmuseum, Stockholm (NMGrh 4325).
      • Plate 4. The main building at Näs. Photo: Udo Schröter. Wikimedia Commons.
      • Plate 5. Pehr Hilleström’s portrait that was commissioned for Wadenstierna’s Näs Manor, 2ne Fröknar Wadenstiernas portraiter – i Conversation, c. 1774. Oil on canvas, 32 × 41 cm. Private ownership.
      • Plate 6. Pehr Hilleström, En gumma med 2ne flickor (later called Tillrättavisningen), c. 1774. Oil on canvas, 33.5 × 49.5 cm. Private ownership. Photo: Bukowskis. The painting belonged to Wadenstierna’s Näs estate.
      • Plate 7. Pehr Hilleström, En tafla med 16 personer föreställande en Conversation på Drottningholm, 1779. Oil on canvas, 74.5 × 117 cm. Nationalmuseum, Stockholm (NMDrh 751).
      • Plate 8. A suite of paintings at Wadenstierna’s Näs Manor tell us about everyday work with the home’s textiles: Pehr Hilleström, En som stryker och en som sticker (one ironing and one knitting). Oil on canvas, 40 × 51 cm. Private ownership. Photo: Bukowsk
      • Plate 9. Wadenstierna’s commission for Näs also included Pehr Hilleström, Ett Fruent: spinner bomull (A woman: Spinning cotton). Oil on canvas, 51 × 40 cm. Private ownership.
      • Plate 10. Niclas Lafrensen the Younger, La consolation de l’absence, c. 1785. Gouache, 26 × 20.5 cm. Paris Musées/Musée Cognacq-Jay, Paris (J 156).
      • Plate 11. Niclas Lafrensen the Younger, Jacobina Sophia Psilanderhielm von Seulenberg (1733–1768) and Fredrica Carleson (1743–1794). Watercolour and gouache on ivory, 8.5 × 6 cm. Nationalmuseum, Stockholm (NMGrh 4324); Pehr Hilleström, En gumma med 2ne fl
      • Plate 12. Johan Niclas Eckstein, Wadenstierna’s secretaire, signed 1773. Veneered with jacaranda, plumwood, citron wood, maple, dark poplar and amaranth (purpleheart wood). W 94.5 cm, H 106 cm, D 49.5 cm. Private ownership. Photo: Christie’s.
      • Plate 13. Georg Haupt, secretaire completed for Wadenstierna, signed 1775. Veneered with coloured birch, maple, walnut and possibly mulberry wood. W 82 cm, H 106 cm, D 55 cm. Private ownership. Photo: Åmells.
      • Plate 14. François Boucher, La marchande de modes, 1746. Oil on canvas, 64 × 53 cm. Nationalmuseum, Stockholm (NM 772). Photo: Cecilia Heisser.
      • Plate 15. Pehr Hilleström, Ett Fruent: som snör en flicka (A woman lacing a girl’s corset). Oil on canvas, 32 × 41 cm. Private ownership. The painting was part of Wadenstierna’s commission of Hilleström’s works in the 1770s.
      • Plate 16. In the eighteenth century, Näs was home to Pehr Hilleström’s painting Interiör med ung dam och gumma som spår i kaffesump (Interior with young lady and old woman reading coffee grounds), from c. 1775. Oil on canvas, 38.5 × 30 cm. Private ownersh
      • Plate 17. Pehr Hilleström, Ett fruentimmer sitter och läser, kammarjungfrun kommer med Thé (A woman sits reading, the lady’s maid brings tea), 1775. Oil on canvas, 53 × 62 cm. Nordiska museet, Stockholm (NM.0177655*1).
      • Plate 18. Niclas Lafrensen the Younger, Lady Drinking Tea, c. 1780. Gouache on paper, 28 × 21.9 cm. Harvard Art Museums/Fogg Museum, Gift of Charles E. Dunlap (1956.248).
      • Plate 19. Cup from Wadenstierna’s armorial tableware. Polychrome decoration with the cross of the Royal Order of the Polar Star hanging around the coat of arms after Wadenstierna was awarded the distinction in 1767. Private ownership.
      • Plate 20. Georg Haupt, Wadenstierna’s tea table, 1775. L 80 cm, W 57.5 cm, H 75 cm. Private ownership. Photo: Bukowskis.
    • Images
      • 1. Gustaf Lundberg (attrib.), Unknown Woman. Pastel, 53 × 43 cm. Nationalmuseum, Stockholm (NMGrh 2306).
      • 2. Louis Carrogis (Carmontelle), Mr de Mornay, Gouverneur de St Cloud, dessiné d’après nature dans la posture habituelle de sa siesta. Watercolour and gouache, 27.1 × 19 cm. Private ownership. Photo: Sotheby’s.
      • 3. François Boucher, Madame de Pompadour, Jeanne-Antoinette Poisson, 1756. Oil on canvas, 201 × 157 cm. Alte Pinakothek, Munich (HUW 18). Wikimedia Commons.
      • 4. Bernard Picart, Mode: aux colonnes d’Hercules avec Priv. du Roy. Engraving, 10.3 × 6.5 cm. Rijksmuseum, Amsterdam.
      • 5. Nicolas Dupin after Pierre-Thomas Le Clerc, Femme en deshabillé du matin couchée négligemment sur un Sopha, et jouant avec son chien. From Galerie des modes et costumes français, Paris, 1778.
      • 6. Antoine Trouvain, Mademoiselle d’Armagnac en robe de chambre, 1695. Découpure, engraving and textile, 27.31 × 20.32 cm. Minneapolis Museum of Art, the Minnich Collection, Ethel Morrison Van Derlip Fund, 1966 (66.25.5).
      • 7. Jean-François de Troy, Lecture de Molière, c. 1728. Oil on canvas, 74 × 93 cm. Private ownership.
      • 8–10. At the Tea Table, 30.5 × 23 cm; Henriette von Knebel, 24.6 × 17 cm; Friederike Louise, princesse of Hessen-Darmstadt, c. 1783, 25.6 × 17.8 cm. Ink on paper. From Anne Gabrisch, Schattenbilder der Goethezeit, Leipzig, 1966.
      • 11. One of five overdoor decorations in the entrance hall at Näs, from about 1775. Unknown artist, oil on canvas. Private ownership.
      • 12. View of Näs Manor, from Gunnar Mascoll Silfverstolpe, ‘Näs i Roslagen. En gustaviansk herrgård’, Svenska hem i ord och bilder, no. 28, 1940, pp. 1–8.
      • 13. Map of Näs Manor, 1748–9 (detail). From the Swedish Land Survey (A83-18:1). Photo: Archives of the Nordic Museum, Stockholm.
      • 14. Floor Plan for a New House at Näs Manor in Roslagen, early 1770s. Photo: Archives of the Nordic Museum, Stockholm.
      • 15. Tiled stove in the dining room at Näs, c. 1775.
      • 16. Enfilade with the reception rooms at Näs with the bedchamber in the foreground. Photo: Åke Grundström, 1959, Archives of the Nordic Museum, Stockholm.
      • 17. Drawing room chairs from Näs, about 1780. Photo: Bukowskis.
      • 18–19. Wadenstierna’s tureen from the Marieberg factory in Stockholm, marked 27/10 (17)63 and with the painter’s signature of Erik Aspegren. The three small leaves inside the bottom of the bowl hide a few imperfections in the glaze. The leaves are a remin
      • 20. One of Johan Philip Korn’s paintings from Näs. Oil on panel, 18 × 25 cm. Private ownership.
      • 21. Part of the collection of silhouette portraits from Näs: Fredrica Aurora Taube (1753–1806) (SPA 1960:243), 1789; Lars Gabriel Silfverstolpe (1773–1832) (SPA 1960:266), 1788; Lars August Mannerheim (1749–1835) (SPA 1960:259), 1792. Photo: Archives of t
      • 22. Pehr Hörberg, Evening with the Family at de Geers Finspång, 1798. Pen and ink wash on paper, 20.5 × 32.5 cm. Nationalmuseum, Stockholm (NMH 516/1884).
      • 23. Silhouette Portraits of Sophia Wadenstierna and Lars August Mannerheim, 1780s. Possibly by Johan Ludvig Tenler. Photo: Archives of the Nordic Museum, Stockholm.
      • 24–25. Carl Carlsson Enhörning, Carl Eric Wadenstierna och Fredrica Carleson, 1770s. Wax relief (SPA 1942:332). Photo: Archives of the Nordic Museum, Stockholm.
      • 26. Unknown artist, portrait miniatures of Jacobina Sophia Psilanderhielm von Seulenberg; Carl Eric Wadenstierna and Fredrica Carleson (SPA 1942:326). Archives of the Nordic Museum, Stockholm.
      • 27. Niclas Lafrensen the Younger, Carl Eric Wadenstierna (1723–1787). Pencil on paper, 8.4 × 7.1 cm. Nationalmuseum, Stockholm (NMH 216/1891).
      • 28. Anton Ulrik Berndes, Carolina Wadenstierna (1762–1848), 1780s. Pencil drawing, 12 × 10 cm (SPA 1920:1690).
      • 29. Johan Henric Scheffel [attrib.], Carl Eric Wadenstierna. Oil on canvas, 79 × 64 cm (SPA 1942:32). Private ownership. Photo: Bukowskis.
      • 30. Johan Henric Scheffel [attrib.], Jacobina Sophia Psilanderhielm von Seulenberg. Oil on canvas, 79 × 64 cm (SPA 1942:311). Private ownership. Photo: Bukowskis.
      • 31. François-Bernard Lépicié after Jean-Baptiste Siméon Chardin, La mère laborieuse, 1740. Engraving, 37.6 × 26.9 cm. Rijksmuseum, Amsterdam (RP-P-1952-637).
      • 32. Pierre Louis Surugue after Jean-Baptiste Siméon Chardin, Les amusements de la vie privée, 1747. Copperplate, 37.6 × 27.2 cm. The Metropolitan Museum, New York (61.591.20), the Elisha Whittelsey Collection, the Elisha Whittelsey Fund, 1961.
      • 33. Jacques-Philippe Le Bas after Jean-Baptiste Siméon Chardin, L’économe, 1754. Copperplate, 38.4 × 27.3 cm. Philadelphia Museum of Art, gift of Henry P. McIlhenny, 1942.
      • 34. Juste Chevillet after Johann Caspar Heilmann, Le bon exemple, 1762. Engraving, 45.7 × 32.4 cm. Rijksmuseum, Amsterdam (RP-P-OB-42.769).
      • 35. Juste Chevillet after Johann Caspar Heilmann, Melle. [Mademoiselle] sa soeur, 1762. Engraving. Rijksmuseum, Amsterdam (RP-P-OB-42.770).
      • 36. James Wilson after Johann Caspar Heilmann, Domestick Amusement. The Lovely Spinner, c. 1764. Mezzotint, 35 × 25 cm. Lewis Walpole Library, Yale University.
      • 37. James Watson after Johann Caspar Heilmann, Domestick Amusement. The Fair Seamstress, c. 1764. Mezzotint, 35 × 25 cm. Lewis Walpole Library, Yale University.
      • 38. Nicolas Arnoult, Femme de qualité en d’eshabillé d’esté. Engraving, 36.51 × 23.81 cm. From Nicholas Bonnart, Recueil des modes de la cour de France, Paris, 1687. Los Angeles County Museum of Art (LACMA), purchased with funds provided by the Eli and Ed
      • 39. François Lucas after Étienne Jeaurat, L’exemple des meres. Engraving, 44.6 × 33.6 cm. Widener Collection, National Gallery of Art, Washington, DC (1942.9.2185).
      • 40. Fredrik Wilhelm Hoppe, A cabinet in the west wing in Tista garden, where Countess Rosenhane mostly spent the day, before the manor house was built.… [T]his piece was drawn using the camera obscura by Lieutenant Colonel: Hoppe. Countess Rosenhane, née
      • 41. Fashion engraving from Journal des Luxus und der Moden, vol. 3, January 1788, image 2, published by Friedrich Justin Bertuch and Georg Melchior Kraus, Weimar. Rijksmuseum, Amsterdam (BI-1967-1159B-2).
      • 42. Pehr Hilleström, Ett qvinfolk som kokar, en som öser vatten i en gryta en som bär ved och en som tittar i dören (A woman cooking, one pouring water into a pan, one carrying firewood and one looking through the doorway). Oil on canvas, 40 × 51 cm. Priv
      • 43. Pehr Hilleström, Ett d:o som kardar bomull (A ditto carding cotton). Oil on canvas, 51 × 40 cm. Private ownership.
      • 44. Jean Siméon Chardin, La blanchisseuse, 1733. Oil on canvas, 37 × 42.5 cm. National Museum, Stockholm (NM780). Photo: Cecilia Heisser (CC BY-SA).
      • 45. Unknown artist after Jean Siméon Chardin, The Laundress. Engraving, 24 × 30 cm. Library of Congress, Washington, DC.
      • 46. Drawings for a dressing table and bedside table by André Jacob Roubo. From Roubo, L’art du Menuisier, Paris, 1769. Photo: The New York Public Library.
      • 47. Pierre Nöel Violet, Unknown Woman, 1787. Gouache on ivory, 6.6 cm. Tansey Collection, Celle, Germany.
      • 48. Nicolas Delaunay after Niclas Lafrensen the Younger, La consolation de l’absence, c. 1785. Engraving, 32.3 × 40 cm. Widener Collection, National Gallery of Art, Washington, DC (1942.9.2402).
      • 49. Sophia Wadenstierna’s (1758–1830) ‘poetry book’, 1770–80s. The open book shows lines from Olof von Dalin’s pastoral poem for Her Majesty the Queen’s name day: Herdevisa (På Hennes Maj:ts Drottningens Namnsdag, den 26 Aug. 1781). The National Archive,
      • 50. According to the estate inventory, a mahogany ‘skrif bureau’ (writing bureau or secretaire), stood in Wadenstierna’s own chamber. It may well have been this one. Photo: Märta Claréus, 1958, Archives of the Nordic Museum, Stockholm.
      • 51. The clock that kept track of the time in Fredrica Carlesson’s cabinet at Näs. Vincent Schultz, mantel pendulum clock, first half of the eighteenth century. Black lacquered with chinoiserie bronzed decoration, 41 × 25 cm. Private ownership. Photo: Buko
      • 52. Alessandri et Scattaglia, Sur la position des jeunes demoiselles pour écrire. Engraved plate. From Charles Paillasson, L’art d’écrire réduit à des démonstrations vraies et faciles, avec des explications claires pour Le dictionnaire des arts, par Paill
      • 53. Nicolas Bonnart, Aminte en son cabinet. Engraving, 36.5 × 23.5 cm. From Bonnart, Recueil des modes de la cour de France, Paris, 1678–93. Los Angeles County Museum of Art (LACMA) (2002.57.8322).
      • 54. Louis Michel Halbou after Jean Honoré Fragonard, L’inspiration favorable. Engraving, 40.5 × 26.2 cm. The Metropolitan Museum of Art, New York. The image shows the sphere within which women’s writing was generally expected to be contained. An amorino (
      • 55. Jacques Esnaut and Michel Rapilly, Chapeau anglais. Engraving from Galerie des modes et costumes français, Paris, 1778, 5e.
      • 56. Alexander Roslin, Marie Emilie Boucher, 1779. Oil on canvas, 80 × 64.5 cm. Photo: Bukowskis.
      • 57. Henri Bonnart, Dame a sa toillette, 1687. Engraving, 36.5 × 23.8 cm. From Nicholas Bonnart, Recueil des modes de la cour de France, Paris, 1678–93. Los Angeles County Museum of Art (LACMA) (M.2002.57.81).
      • 58. Nicolas Dupin after Pierre-Thomas Leclerc, Femme galante à sa toilette ployant un billet, Engraving. From Galerie des modes et costumes français, 1778, 10e.
      • 59. Nicolas de Larmessin after Nicolas Lancret, Le matin, 1741. Engraving, 33 × 37.4 cm. Rijksmuseum, Amsterdam (RP-P-OB-43.961).
      • 60. Gustaf Lundberg, Charlotta Fredrika Sparre, grevinna von Fersen (1719–1797). Pastel, 67 × 53 cm. Private ownership. Photo: Stockholms Auktionsverk.
      • 61. Gustaf Lundberg, Christina Helena Löwen (1724–1764). Pastel. Private ownership. Photo: SPA.
      • 62. Johan Henrik Scheffel, Anna Helena Celsing (1725–1795). Oil on canvas, 49 × 38 cm. Private ownership. SPA (1925:1178).
      • 63. Johan Joachim Streng, Ulrica Stenbock (1732–1783), 1753. Oil on canvas, 74 × 62 cm. Private ownership (SPA 1919-411).
      • 64. Gilles-Edmé Petit after François Boucher, Le matin. La dame à sa toilete. Engraving, 31.5 × 21.6 cm. The Metropolitan Museum of Art, New York (53.600.1042).
      • 65. Johan Fredrik Martin after Elias Martin, vignette to Olof von Dalin’s poem ‘Den sanna Critiquen [The true critique]’. Engraving, 7.2 × 9.4 cm. From Olof von Dalin, Poetiska arbeten, Stockholm, 1783.
      • 66. Louis-Marin Bonnet, The Charms of the Morning, 1776. Etching, 32.2 × 24.9 cm. Rijksmuseum, Amsterdam (RP-P-1959-362).
      • 67. Multifunctional table and writing/dressing table chair from Näs, latter half of the eighteenth century. Private ownership.
      • 68. Georg Haupt, Wadenstierna’s bedside cabinets, c. 1775. Veneered with jacaranda, citron wood, birch and maple, L 54 cm, W 38 cm, H 78 cm. Private ownership. Photo: Bukowskis.
      • 69. Jacques-Philippe Le Bas after Jean-Baptiste Siméon Chardin, Le negligé ou toilette du matin, 1741. Engraving, 37.2 × 25.7 cm. The Metropolitan Museum of Art, New York (53.600.528).
      • 70. Nicolas Dupin after Claude-Louis Desrais, Jeune dame coeffée en baigneuse, avec une pilisse de satin. Engraving, 25.9 × 18.1 cm. From Galerie des modes et costumes français, 1778, 16e. Rijksmuseum, Amsterdam (RP-P-2009-2105).
      • 71. Pehr Hilleström’s Ett fruent: som knyter sitt strumpeband (A woman tying her garter) belonged to Wadenstierna’s Näs Manor in the mid-eighteenth century. Oil on canvas, 32 × 41 cm. Private ownership.
      • 72. François Boucher, La toilette, 1742. Oil on canvas, 52.5 × 66.5 cm. Museo Thyssen-Bornemisza, Madrid, inv. no. 58 (1967.4). Credit/Provider Musée du Louvre, https://creativecommons.org/publicdomain/mark/1.0/.
      • 73. Pehr Hilleström, Morgontoilette, 1798. Oil on canvas. Östergötlands museum (B 625).
      • 74. Pehr Hilleström, Ett Fruent: spår i kort (A woman fortune-telling with cards) was part of Wadenstierna’s collection at Näs in the 1770s. Oil on canvas, 39 × 30 cm. Private ownership.
      • 75. The southern wing at Näs, built in the first half of the eighteenth century. Photo: N.E. Åzelius, 1931, Archives of the Nordic Museum, Stockholm.
      • 76. Charles-Nicolas Cochin after Jacques-François Blondel, ‘Trianon’. From Blondel, De la distribution des maisons de plaisance et de la décoration des edifices en general, 2 vols, Paris, 1737, vol. 1. Bibliothèque de l’Institut National d’Histoire de l’A
      • 77. Jean Dambrun after Jean Michel Moreau the Younger, La partie de Wisch, 1783. Engraving, 55.4 × 41.2 cm. From Nicolas-Edme Rétif de La Bretonne, Monument du costume physique et moral de la fin du dix-huitième siècle, ou tableaux de la vie, Paris, 1783.
      • 78. Voyeuse made by Melchior Lundberg in Stockholm during the latter half of the eighteenth century. Later painting and upholstery. Private ownership. Photo: Stockholms Auktionsverk and Voyelle or voyeuse à genoux by Jean-Baptiste-Claude Sené, 1789. Sothe
      • 79. Pehr Hilleström, Spelparti hos Statssekreterare Elis Schröderheim, 1779. Oil on canvas, 111 × 138 cm. Nationalmuseum, Stockholm (NM 5296).
      • 80. Johann Esaias Nilson, 1756. Pen-and-wash drawing, 17.6 × 25.1 cm. National Gallery of Art, Washington, DC.
      • 81. Jacques-Philippe Le Bas after Charles Eisen, Le tric-trac. Engraving, 38 × 27.3 cm. National Gallery of Art, Washington, DC (1942.9.2166).
      • 82. Niclas Lafrensen the Younger, Damer som spelar kort, 1780s. Gouache, 29 × 21 cm. Nationalmuseum, Stockholm (NMB 13). Photo: Anna Danielsson/Nationalmuseum.
      • 83. Puzzle from the late eighteenth century at Näs. Engraving by the Martin brothers. From Gustaf Näsström, Forna dagars Sverige, 3 vols, Stockholm, 1962, vol. 3. Photo: Hans Hammarskiöld.
      • 84. Johann Zoffany, The Dutton Family in the Drawing Room of Sherborne Park, Gloucestershire, c. 1772. Oil on canvas, 101.5 × 127 cm. Leonard C. Hanna Jr. Fund (2023.122), the Cleveland Museum of Art.
      • 85. Léonard Boudin, Table tambour, 1770s. Private ownership. Photo: Christie’s.
      • 86. Louis-Marin Bonnet, The Woman ta King Coffee, 1774. Engraving, 29.6 × 23 cm. The Metropolitan Museum of Art, New York (65.692.6). (Regarding the title in English rather than in French, see Chapter 6, note 4.)
      • 87. François-Bernard Lépicié after François Boucher, Le déjeuné, 1744. Engraving, 37.3 × 26.6 cm. The Metropolitan Museum of Art, New York (50.567.34).
      • 88. Jean-François de Troy, The Breakfast, 1723. Oil on canvas, 34 × 25 cm. State Museums of Berlin, Picture Gallery/Jörg P. Anders (Kat. Nr. KFMV.297).
      • 89. Martin Rudolf Heland after Per Nordquist, Caffe-Beslaget, c. 1799. Engraving, 36.3 × 52.4 cm. Stadsmuseet, Stockholm (SSM 108190).
      • 90. James Watson after Elias Martin, The Confidants, 1780. Mezzotint engraving, 25.8 × 19.7 cm. From Karl Asplund, Två gustavianska mästare. Niklas Lafrensen d.y. och Elias Martin i samtida gravyrer, Stockholm, 1925.
      • 91. Wadenstierna’s final commission from Pehr Hilleström was the painting En gumma som spår i handen på ett fruent. och ett annat som hör derpå (An old woman reading the palm of a woman, and another listening), 1784. Oil on canvas, 52.5 × 63 cm. Private o
      • 92. Fredrik Wilhelm Hoppe after Jean-Baptiste Siméon Chardin, Les amusements de la vie privée. Dedie a Madame la Baronne de Rosenhane née Comtesse de Stenbock. Découpure and drawing. Private ownership. Photo: Hans Thorwid.
      • 93. Unknown artist after François Boucher’s Le déjeuner and Michel François Dandré-Bardon’s La Naissance, 1762. Oil on canvas. Lagmansö. Photo: Christer Vallstrand.
      • 94. A round mahogany tea table stood in the bedchamber at Näs. Private ownership.
      • 95. Small folding table from Näs, in birch, oak and pine. Table top veneered with ash. H 72.5 and table top diameter 43.8 cm. Photo: Märta Claréus, 1958, Archives of the Nordic Museum, Stockholm.
      • 96. Lantern tables from Näs. W 50 cm, H 66 cm. Photo: Stockholms Auktionsverk.
      • 97. Faience tray from the Marieberg factory in Stockholm for Wadenstierna’s tea table by Georg Haupt, 1775. Private ownership. Photo: Bukowskis.
      • 98. Gérard Vidal after Niclas Lafrensen the Younger, Le dejeuner anglais, 1785. Engraving, 34.5 × 25.2 cm. Widener Collection, National Gallery of Art, Washington, DC (1942.9.2101).
      • 99. Wadenstierna’s armorial tableware set on the tea table by Georg Haupt, 1775. The south wing of Näs is glimpsed through the window. Private ownership. From Gustaf Näsström, Forna dagars Sverige, 3 vols, Stockholm, 1962, vol. 3. Photo: Hans Hammarskiöld
      • 100. Emilie von Werthern & Sophie von Schardt, 1780. Silhouette, ink on paper, 17.3 × 21.8 cm. From Anne Gabrisch, Schattenbilder der Goethezeit, Leipzig, 1966.
      • 101. Niclas Lafrensen the Younger, Jacobina Sophia Psilanderhielm von Seulenberg (1733–1768) and Fredrica Carleson (1743–1794). Watercolour and gouache on ivory, 8.5 × 6 cm. Nationalmuseum, Stockholm (NMGrh 4324).

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