The Gentlemen’s Wing Stairwell

The Gentlemen's Wing Stairwell

Here in the Gentlemen’s Wing stairwell hang two works by contemporary artists Bjarne Melgaard and Bjørn Sigurd Tufta – powerful and masculine in their own ways – showcasing the breadth of modernity’s masculinity. The works evoke wonder, resistance, and reflection, bringing energy and presence to the stairwell. Both polarities lead visitors further into the gentlemen’s cabinet. The staircase leading up from the Hall is largely original from 1762.

Paintings

Bjarne Melgaard

Gay swans

1998

Oil on canvas

180×170 cm

Bjørn-Sigurd Tufta

Scala Sancta

1997

Oil on canvas

225×175 cm

Other objects

Eight-armed chandelier, gilded bronze, 20th-century historicism. From Arnstein Arneberg’s restoration in 1937.

A pair of three-armed sconces, gilded bronze, 20th-century historicism. From Arnstein Arneberg’s restoration in 1937.

About the artworks at Hafslund

In earlier times, Hafslund is said to have housed artworks by renowned international masters. In the first half of the 18th century, Hafslund was reportedly home to “the most excellent works by Raphael, Michelangelo, Guercino, Albani, and several other famous masters.” We know little about the current whereabouts of these paintings. Without being a museum, many of the works in the art collection are by well-known artists from various eras. Hafslund is a place with a long history where classical, modern, and contemporary art have a natural place.

Under the ownership of the Werenskiold family, from 1687 to 1754, Hafslund reportedly housed, according to Major General de Seue’s memoirs published in 1811: “the most excellent works by Raphael, Michelangelo, Guercino, Albani, and several other famous masters.” Was this true? The Werenskiold brothers had been to Italy, and purchasing art was common on such journeys. But had they truly acquired original works by “famous masters”? Through the eyes of that era, a copy, perhaps even a good copy, was still a motif “by Raphael.” There were no photographs or other techniques to reproduce color images, so for someone who wished to enjoy art and the compositions of famous masters, the experience of a good copy was close to an original. The view of originals we have today, with the artist’s signature as essential, was not yet established. To never see or to see a good copy – that is the question. An art lover would choose the latter, and having good copies on the wall brought daily joy and admiration and enthusiasm to all visitors!

One of the brothers returned home in 1717 and likely brought even more art with him. In 1719, Niels Werenskiold sought compensation for his losses after the Swedes’ ravages. King Charles XII himself participated in the destruction after Hafslund refused to pay so-called ‘fire tax’ to avoid devastation. He sought compensation for inventory but did not specifically mention paintings. Thus, there is no documented evidence that the Swedes stole the art collection. Nor has anyone investigated which paintings Charles XII added to the royal art collections.

The art at Hafslund seems to have remained undisturbed. The previously mentioned Major General de Seue was not born when Charles XII paid an uninvited visit.

The art collection, if it primarily belonged to Christian Werenskiold, may have become part of the estate when he died with an insolvent estate in 1727. However, Niels Werenskiold would likely have paid the estate for the art hanging at Hafslund. Thus, the art collection must have been moved when Niels’s daughter and grandson sold Hafslund and moved to Denmark. His daughter Karen de Werenskiold Huitfeldt became chief lady-in-waiting, and her son Mathias Huitfeldt became chamberlain at court.

If the painting collection was not moved but was transferred as part of the house when the Elieson family purchased the Manor, its fate would be well known. Hafslund burned down four years later, in 1758, and the Italian masters went up in smoke.