The Boardroom
The Wallpapers
General information about the wallpapers
The room’s wallpapers are among the highlights of Norway’s preserved Rococo interiors and are called “A Lady’s Amusements.” Here we see various cultural activities that were considered formative for a young lady. The wallpapers were originally located on the floor below and were part of the three state rooms intended for receiving important guests. The connection between the wallpapers’ presumed painter and the house’s owner, Peter Elieson, is unique and interesting. It is believed that a similar room existed in the men’s wing featuring “a gentleman’s amusements.”
Painted by a decorative artist from the Herrebøe faience factory?
Herrebøe was a factory outside Halden that first produced roof tiles in 1757, but after a couple of years, the founder Peter Hofnagel started a faience factory. As a result of what is known as the “Columbian Exchange,” colonial goods such as sugar, chocolate, coffee, and tea became available in Norway at a lower price throughout the 1700s. The need for suitable cups and pots for these goods increased, creating a new market. Faience was cheaper than porcelain and was imported, but Peter Hofnagel wanted to capture the Norwegian market. He imported clay and technical expertise to Herrebøe and succeeded in establishing a production of faience that is today considered among the finest in a European context. The Hafslund fire in 1758 led Peter Elieson to live in the city, and he invested financially in the Herrebøe enterprise. Stylistically, the wallpapers seem to draw certain features from the Herrebøe faience decoration, and these wallpapers were likely painted by an artist from the Herrebøe factory.
The various scenes of the wallpapers – harmonious everyday activities for a young lady in 1762
The wallpapers depict a young lady’s everyday activities. The scenes do not form a single story but showcase healthy and educational pursuits for young ladies circa 1762. The wallpapers were painted after foreign, likely German or Central European, patterns.
Strolling. Moving about outdoors, preferably in a park, was something one had to learn to appreciate. Walking correctly is also an art best learned from one’s governess or from a lady of refinement.
Tennis. The Elieson family had English ancestry and close contact with the country. Tennis, in one form or another, was common among the upper class and appears to have been familiar to the family at Hafslund!
Clavichord. This keyboard instrument could be played both softly and slightly louder, though it never became very loud. It was well-suited for solo play. A poem from the era about the instrument: “You are what I desire, Cheerful Play, Seriousness, In my quiet solitude.”
Picking fruit and berries. Gardening became increasingly fashionable throughout the 1700s, and Hafslund had a significant orchard.
Playing together. Playing music together gives everyone an attentive attitude toward their fellow player and requires etiquette and harmony. The musical instruments we see are the pointed harp, which has metal strings played with the fingernails. The left hand plays chords while the right hand plays the melody. The other instrument is likely a spinet, where the sound is produced by small plectrums connected to a keyboard.
The cittern, also called a cister, was a popular stringed instrument in Northern Europe in the latter part of the 1700s. It had metal strings and was played with the fingers or a quill. One of Norway’s famous cittern makers was located in Halden during this period. Amund Hansen (1734–1812) had a workshop in the city and was particularly known for his high-quality citterns.
Riding and hunting. Upper-class women in Denmark-Norway in the 1600s and 1700s could participate in both hunting and riding. Both activities were considered appropriate for noblewomen—at least as recreation and social activity—though with certain limitations.
Uncertain identification. Conversation? The motif here is unclear and could be anything from table manners to the art of conversation.
Dancing. A young lady flanked by a dance master and a violinist. The screen was not a mirror but served the same function: with backlighting, the shadow on the canvas made it possible to observe one’s movements.
Reading. Reading classical and modern works, especially moral philosophy and devotional literature, was part of one’s upbringing. French was particularly important, as it was seen as the language of refined Europeans. English and German could also be useful; English was likely especially important for the Elieson-Collett family, who had English roots.
The wallpapers' previous location
The wallpapers were originally located on the floor below and were part of the three state rooms intended for receiving important guests. The connection between the wallpapers and the house’s owner, Peter Elieson, is unique and interesting.
Other furnishings
The Hafslund platter from Herrebøe faience factory (replica)
A replica of the only known remnant of a massive dinner service from Herrebøe featuring the Elieson and Collett coats of arms, who owned Hafslund from 1754 until their deaths in 1778. The platter bears witness to Hafslund’s ownership of one of the early prides of Norwegian decorative arts, the Herrebøe Faience Factory at Idd near Halden. When the architect Arneberg restored the house in 1937, he had a replica of the platter made.
Overdoor with floral motif
Likely from the Elieson family’s time, the latter half of the 1700s. Placed in this room by architect Arneberg in 1937.
Chandelier
Venetian chandelier, approx. 1900–1930. Purchased by architect Arneberg, 1937.
Iron stove from Moss Ironworks
Louis XVI, approx. 1760–70, from Moss Ironworks, Norway. The stove features decorations carved by Henrik Bech, who was trained in Copenhagen and came to Norway around that time. 1750. Worked as a decorative artist at the Herrebøe faience factory. Decorated several iron stoves and many churches in Norway.
Corner table
German Rococo, 1700s. Provenance: Actress Wenche Foss
Norwegian Rococo chairs
12 pieces. Mahogany imitation, Norway, 1700s.
