Arbitration between the United States and Sweden under special agreement of December 17, 1930. The "Kronprins Gustaf Adolf" and the "Pacific". Statement of case of the United States with appendices and exhibits.

Published also as U.S. Dept. of State. Arbitration series, no. 5¹.

Arbitration between the United States and Sweden under special agreement of December 17, 1930.

Parts 3 and 4, "Photographic reprint".

Warhafftige Abbildung und Beschreibung, Deß grossen und gewaltigen Treffens, welches bey den Chur- Sächsischen Stättlein Lützen, zwischen der Catholischen Liga Generalen Fürst von Friedland, und Graf von Pappenheim, an einem, und der Königl. Majest. in Schweden, auch Hertzog von Weinmar andern theils, den 5. und 6. Novembris deß 1632. Jahrs, vorgangen, kürtzlich beschrieben

Mit Porträtmedaillons von Gustaf Adolf und dem sächsischen Herzog Bernhard

Historia öfver kriget emellan Sverige och Ryssland, åren 1808 och 1809.

Mode of access: Internet.

Skildringar ur svenska historien under Gustaf III och Gustaf IV Adolf;

Translation of: Schwedische geschichten unter Gustav dem Dritten.

Gustaf III inför sina undersåtar : Konsten att härska och politikens kulturhistoria

The dissertation analyses the political culture of Sweden during the reign of King Gustav III (1771-1792). This period commonly referred to as the Gustavian era followed the so-called Age of Liberty ending half a century of strong parliamentary rule in Sweden. The question at the heart of this study engages with the practice of monarchical rule under Gustav III, its ideological origins and power-political objectives as well as its symbolic expression. The study thereby addresses the very nature of kingship. In concrete terms, why did Gustav III, his court, and his civil service vigorously pursue projects that contemporaneous political opponents and, in particular, subsequent historiography have variously pictured as irrelevant, superficial, or as products of pure vanity? The answer, the study argues, is to be found in patterns of political practice as developed and exercised by Gustav III and his administration, which formed a significant part of the political culture of Gustavian Sweden. The dissertation is divided into three parts. The first traces the use and development of royal graces chivalric orders, medals, titles, privileges, and other gifts issued by the king. The practice of royal reward is illustrated through two case studies: the 1772 coup d état that established Gustav III s rule, and the birth and baptism of the crown prince, Gustav Adolf, in 1778. The second part deals with the establishment of the Court of Appeal in Vasa in 1776. The formation of the Appeals Court was accompanied by a host of ceremonial, rhetorical, emblematic, and architectural features solidifying its importance as one of Gustav III s most symbolic administrative reform projects and hence portraying the king as an enlightened monarch par excellence. The third and final part of the thesis engages with war as a cultural phenomenon and focuses on the Russo-Swedish War of 1788-1790. In this study, the war against Russia is primarily seen as an arena for the king and other players to stage, create and re-create as well as articulate themselves through scenes and roles adhering to a particular cultural idiom. Its codes and symbolic forms, then, were communicated by means of theatre, literature, art, history, and classical mythology. The dissertation makes use of a host of sources: protocols, speeches, letters, diaries, newspapers, poetry, art, medals, architecture, inscriptions and registers. Traditional political source material and literary and art sources are studied as totalities, not as separate entities. Also it is argued that political and non-fictional sources cannot be understood properly without acknowledging the context of genre, literary conventions, and artistic modes. The study critically views the futile, but nonetheless almost habitual juxtaposition of the reality of images, ideas, and metaphors, and the reality of supposedly factual historical events. Significantly, the thesis presumes the symbolic dimension to be a constitutive element of reality, not its cooked up misrepresentation. This presumption is reflected in a discussion of the concept of role , which should not be anachronistically understood as roles in which the king cast himself at different times and in different situations. Neither Gustav III nor other European sovereigns of this period played the roles as rulers or majesties. Rather, they were monarchs both in their own eyes and in the eyes of their contemporaries as well as in all relations and contexts. Key words: Eighteenth-Century, Gustav III, Cultural History, Monarchs, Royal Graces, the Vasa Court of Appeal, the Russo-Swedish War 1788–1790.

Des Prinzen Gustaf Friedrich Adolfs von Hessenstein denkwürdige Schicksale und unerwartete Geburtsaufklärung. Aus sichern Urkunden.

A novel.

Historisk tafla af högstsalig f.d.konung Gustaf IV Adolphs första lefnadsår; tecknad och utgifven af författaren till skildringar ur det inre af dagens historia.

Mode of access: Internet.

Tal vid jubelfesten till den store Gustaf Adolfs minne den 6 november 1832 i Upsala.

Mode of access: Internet.

Tal, hållet vid fru doctorinnan Frerique Sophie Lindforss född Malm jordfästning i Sääminge kyrka den 1 Martii 1838 af Gustaf Gräsbeck

Ruotsinkielinen puhe.

Suomen Taideyhdistyksestä Ateneumiin : Fredrik Cygnaeus, Carl Gustaf Estlander ja taidekokoelman roolit

From the Finnish Art Society to the Ateneum: Fredrik Cygnaeus, Carl Gustaf Estlander and the Roles of the Art Collection My dissertation deals with the Finnish Art Society and the development of its collection in the evolving field of the visual arts from the foundation of the society in 1846 to its exhibition in the Ateneum, a palace of art that was opened to the public in Helsinki in 1888. The main questions that it addresses are why and how the collection came into being, what its purpose was and what kind of future prospects were projected for it in the rapidly evolving field of the visual arts. I have examined the subject of my study from the perspectives of institutional history, the organisation of the field of art and the history of art collections. The prisms through which I have viewed the subject are the history of museums in Europe, the written history of art, the art association movement and the organisation of art education in relation to an ideology of enlightenment. Thus the activities of the Finnish Art Society are here mirrored for the first time in a wider context and the history of its collection located on the map of European collections. My research shows that the history of the collection of the Finnish Art Society initially depended on certain players in the visual arts and their particular leanings. The most important of these custodians were two long-serving chairmen of the society, Fredrik Cygnaeus (1807 1881) and Carl Gustaf Estlander (1834 1910). When the foundations for art activities had been laid through the establishment of the society, Cygnaeus and Estlander began to plan how the field of art might be moulded so as to improve the level of training for artists and to improve the quality of the collections and the opportunities for their display. Cygnaeus campaigned for the establishment of the Finnish Fine Arts Academy, while Estlander saw opportunities to combine the visual and applied arts. The findings of my research bring new information about the history of the collection of the Finnish Art Society, its profile, the professional abilities of those who were mainly responsible for developing it and the relationship between it and plans for reforming art education. The major findings are connected with the position of the collection in the field of art at different stages of its development. Despite the central monopoly of the Finnish Art Society in the field of art, the position of the collection was closely bound up with leading players in the field of art and their personal interests. This subservience also created an impediment to its full-blown enhancement and purposeful profiling, and it remained evident for a long time when the collection was seeking its own place in the Finnish art world.

Studio portrait of Richard Molling, Margot Molling, Adolf Molling, Ilse Molling, Lena Molling nee Marx; Schoenau am Koenigssee, Germany.

Digital Image

Portrait of Adolf Meyerhof; Hildesheim, Germany.

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Therese Mayerhof nee Molling with Joel, Ilse, Adolf, Grete, and Leopold Meyerhof on rooftop of store and residence Meyerhof am Platze; Hildesheim, Germany.

From left to right, standing: Ilse, Adolf, Grete and Lepold Meyerhof; from left to right, sitting: Joel Meyerhof and Therese Mayerhof nee Molling

Tombstone of Adolf Molling and his wife Henriette (Henny) nee Meyerhof in the Jewish cemetery An der Strangriede Str. 54. 7; Hannover, Germany. Cemeteries Tombs

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