Skokloster’s castle is a former private palace located on the Skohalvön near Mälaren in Håbo municipality, between Stockholm and Uppsala. Skokloster’s castle is considered one of Europe’s foremost baroque castles. It is the largest private palace ever built in Sweden and was added during the Swedish flourishing period’s most flourishing period. Despite a construction time of over thirty years, the castle was not completely completed, but the building stopped when the developer Carl Gustaf Wrangel died in 1676.
Architect was probably the builder Caspar Vogel from Thuringia. Jean de la Vallée designed the baroque garden and a sea farm that was never realized. Also Nicodemus Tessin the elderly was involved in the project because the castle’s facade design is likely to return to its drawings. The original octagonal towers and their hoods have counterparts in the Ujazdów Palace in Warsaw, Poland, which Wrangel besieged during Karl X Gustav’s Polish War. The person who was responsible for the plant’s completion with regard to the garden and the interiors was the Swedish-born architect Mathias Spihler who was active here in an inspector’s job until 1686. Skokloster is architecturally unique in Sweden. There are no apparent precursors or successors.
The castle was acquired in 1967 by the state, which then began extensive renovation work. Skokloster is now a museum and since 1971 a state-owned building that is managed by the National Property Agency. At Skokloster’s castle, over 50,000 objects, including an extensive weapon collection – which is one of Europe’s most famous – and a portrait gallery with 600 works, are stored. Some of the museum’s halls are shown to the public during the summer months.
A farm shoe is known since the 12th century. At the beginning of the 13th century, Knut Holmgersson unveiled his farm Sko as a monastery for Cistercian nuns called the Sko monastery. Through Gustav Vasa’s reduction in 1527, the farm was owned by the crown. The monastery’s property was then managed by a royal monastery.
In 1609, Charles IX donated the property, consisting of 22 tonnes, to the Field Marshal Christer Somme. But when this two years later surrendered to the Danes on the Kalmar Castle was withdrawn fief and given instead to the then 27-year-old Herman Wrangel as a reward for services rendered. Of all judgments, Herman Wrangel took over a poorly maintained farm with dilapidated monastery buildings without any real housing. In addition to the church, a house remained on two floors (rivet in the 1890s) and a three-storey building that Wrangel had built for man-building.
The original main building is located north of the castle and is visible, fitted with stairwells, on a drawing by Erik Dahlbergh from 1666. The house was rebuilt in the 1730s and still exists. It is now called the “Old Castle” or “The Stone House” and contained the castle’s administration in 1996–2012. The current castle-like building was erected in 1654–1676 and was created by Count and Field Marshal Carl Gustaf Wrangel. So the place was known to Wrangel before. Here was the father of Herman Wrangel’s mansion and here he was born himself on December 13, 1613.
After Wrangel’s death on June 25, 1676, ownership of the Brahe family changed by Wrangel’s oldest daughter, Margareta Juliana, married in 1660 with the National Council and Admiral Count Nils Brahe. At his death in 1699, the widow instituted a fide commission for the son of Major General Count Abraham Brahe (1669–1728). During the 18th century, interest in the great power era arose and the castle became a popular destination. In the 18th and 19th centuries, there are the owners Erik Brahe, Magnus Fredrik Brahe, Magnus Brahe and Nils Claes Brahe. In 1907, his brother Magnus Per Brahe took over the farm and in 1930 became the latter’s nephew Gustaf Fredrik von Essenowner of Skokloster’s castle. The last private owner until 1967 was free-lord Rutger Fredrik von Essen.
Architecture and floor plan
Who was the architect of Skokloster is still unclear, probably there were several. The drawings for the castle were most likely prepared by the German architect and builder Caspar Vogel, who in 1652 was hired by Wrangel to draw Schloss Wrangelsburg in Swedish Pomerania. Vogel died in 1663 and Mathias Spieler has in Sweden monitored and processed his original proposal. Also Jean de la Vallée and Nicodemus Tessin d.ä. has been linked to various parts of the project. Tessin was at the same time engaged by Wrangel for rebuilding the Wrangelska Palace in Stockholm and new construction ofGripenberg Castle outside Tranås. Skokloster’s castle is designed in baroque style and never came to completion, when the builder Wrangel died in 1676. When the command of Wrangel’s death reached the workers at the castle stopped the project.
Possibly Schloss Johannisburg (built between 1605 and 1614) in Aschaffenburg at Main Wrangel’s role model. With its four corner towers, the same lengths and the floor plan it reminds of Skokloster. But there all similarities end. The castle at Skokloster received a square floor plan where the lengths are arranged around an enclosed courtyard, bordered by an arcade.
According to the contract with the mason Berendt Persson, the building is “seventy and five cubes far on all four sides” (corresponding to 44.50 meters). In addition to his architects, Wrangel himself took part in the planning and it is very likely that he influenced both the castle’s appearance and layout. He was a conscious client and well acquainted with the current, relevant construction projects. From the start of construction and until 1665 Hendrich Anundsson was the construction manager and engineer. With him, Wrangel had an intense correspondence.
The building’s design contains no architectural surprises. In a visit by Wrangel with the diplomat Lorenzo Magalotti in 1674, this did not show any great enthusiasm. The house lengths are three floors high plus a lower attic floor. Each length contains eleven window shafts. The stairwell is centrally located in the south and north. In all four corners there are octagonal, five-story towers. Their copper-clad tower hoods are crowned by lanterns with a stylized, pierced globe at the top. dormer windowsthat can be seen on the model was never performed. The only façade decoration is the Wrangelska weapon in the segment end over the central part towards the sea side and over the one in oak carved and yellow painted trophy crown. Both were performed in 1657 by the German wooden sculptor Marcus Hebel (dead 1664). The inner courtyard is paved in patterns with water gutters leading to a stormwater well in the center.
The floor plan is strict with its halls and rooms that are accessed via corridors towards the inner courtyard. Exceptions are the King’s Hall, the unfinished banquet hall, which has full width. The castle originally had 77 rooms. Both the planes’ plan and disposition follow a currently established schedule and were prepared as follows:
The basement floor contained storage for food and drinks.
The first floor (ground floor – floor 1) was reserved for kitchens, storage rooms, personnel residences and the like. Here, since 1996, there are, among other things, the castle shop, café and premises for temporary and permanent exhibitions.
The second floor (floor 2) served as the county residence with some guest rooms for royal visits. Here are the Wrangelska and Braheska room suites and the King’s Hall. Each home suite can be accessed via three roads: the official through the hall, one more intimate from the corridor and the atrium and finally the service path, which went from the stairwell and via the closet.
The third floor (floor 3) was the party and guest room floor with the large, unfinished banquet hall. The guest rooms have been named after various European cities: “Rotterdam”, “Magdeburg”, “Antwerp”, “Middelburg”, “Geneva” (also called the Drabantsalen), “Paris”, “Tours”, “Florence” and “Leyden”.
The fourth floor (the attic floor – plan 4) was used for study and pastime. Here, among other things, Wrangel’s rust chamber, a library and the county’s private carpentry chamber and the master’s room were decorated. On the ground floor there were also some simpler guest rooms. It’s low in ceilings.
The project also included a monumental sea farm with a harbor at Lake Mälaren. Wrangel hired architect Jean de la Vallée for the task. He drew a towered two-storey building and a double staircase down to the harbor. There would be room for a rustic chamber, bathing facility, kitchen, bakery and room for the staff. Neither was it realized, only a rectangular harbor basin with support walls was completed, which was still used in the 1860s. Today it is well-founded and hardly contains any water. But how it all was supposed to be seen on Dahlberg’s idealizing picture in Suecia antiqua et hodiera from the 1690s.
Already in the middle of the 1640s, the building plans were far advanced. Wrangel asked his bookkeeper in Stockholm to ensure that lime and stone were delivered to Skokloster. In January 1645, some twenty men arrived who started the foundation work for the castle. First, the outlines of the building were laid out, and then the basement and grounds were dug. At the same time as mortar and wall bricking, the roof trusses were made on the ground. The roof chair was built of heavy pine from Hälsingland. The timber was driven to the workplace by horse and sleigh in the winters.
The roof structures themselves are taken from a trade book by Johan Wilhelms, “Architectura civilis”, printed in 1649 in Frankfurt. Wrangel had two copies of the same book, but today only one copy is preserved in the castle library. Only after the roof trusses were in place and the building was protected from rain and snow, the vaults struck. That work lasted two years and after another three years all the joists and roof surfaces were finished.
In 1659, 200 copper plates and 3,500 copper nails were delivered as fittings for tower hoods from Stockholm. The work was done by the copper slaughterer Erik Larsson. Kopparn was part of Queen Kristina’s payment to Wrangel for services rendered. In the spring of 1664, the works began with the western long and in 1668 one could have a thank-you party. Only then did the interior work start.
The work was on time. Although Wrangel was counted to the richest men of the time in Sweden, lack of funds was a constant threat. And because working young men were at war and at the same time several other castles were erected and the manor houses around Mälaren, there was also a shortage of labor. The estate’s own peasants, soldiers and seasonal dalkullas kept the big building going, but it was not enough. Wrangel himself had at that time six major construction projects started at the same time: Schloss Wrangelsburg in Pomerania, rebuilding and extension of the Wrangelska palace at Riddarholmen, new construction of Gripenberg’s castle outside Tranås, new building ofEkebyhov’s castle on Ekerön, rebuilding castle Spyker on Rügen and then the largest of all: Skokloster.
Skokloster’s castle was built entirely in brick tile on a ground of gray stone. The walls are massive brick structures. The outer walls are at the height of the ground floor one meter thick and in the top floor 50 centimeters. Huge amounts of bricks were used. In 1652 there were over 260,000 brick tiles stored at Skokloster. Deliveries came from various brickworks around Lake Mälaren. In 1653, Wrangel built two separate brick ovens to be self-sufficient. Black, glazed roof tile was ordered from Hollandat a cost of 34 guilders per thousand boilers. From there, in the 1650s, it was transported in two batches of 80,000 tiles. They are still on the roof of the castle but were supplemented at the renovation in 1968–1978 with handmade boilers from Poland.
In 1657, the first interior details, 30 oak doors, were delivered. Virtually all doors and windows were manufactured in Stockholm. In the Wrangelska Palace on Riddarholmen, a carpentry workshop was established during the winter. In the spring, the finished products were then transported on a boat out to Skokloster where they were mounted in rooms after room. The open wood fronts of wood were also carved in Stockholm. The door locks were ordered from locksmiths in Stockholm and Arboga, from Arboga also came all nails.
The window glass was originally ordered from Pomerania, as it was half as expensive as buying it in Stockholm. Wrangel had good contacts with Swedish Pomerania, he was there general governor for many years. The years 1657–1658 included twenty boxes each with 180 glass plates, only 37 of the castle’s 300 windows. The window glass was cut into 7 × 17 cm large boxes and joined with lead bars (see lead inserts ). During the 18th century, the windows were replaced by the current model, even those with lead bars.
The castle received seventeen stucco ceilings, fourteen of which were performed by Nils Eriksson. He had previously worked as a stucco for Wrangel in Pomerania and he would now work with Skokloster’s stucco roof for more than seven years. The castle’s most beautiful stucco roof, the one in the King’s Hall, was completed by Hans Zauch from Bavaria. Limestone for floors and stairs came from Öland in the form of unprocessed tiles that were first hammered onto the site.
In February 1664, Wrangel ordered 200 planers, chisels and other joinery tools via his agent Peter Trotzig in Amsterdam (the main part is today in the carpentry chamber). The same year, Wrangel came to inspect the building. It became abrupt days for the building people to clear the dining room (the King’s Hall); one had to work even on Sundays.
Wrangel ruled his big building, and all the others, mainly from the Spyker castle in Swedish Pomerania. Only after 1664, when he became a Kingdom Marshal, he stayed more often in Sweden. In the same year, Skokloster was so ready that he could reside there and harbor the king Karl XI with attendance of 400 people. In the summer of 1671 he came again to see to the building. But he never saw his castle completely completed.
After Wrangel’s death in 1676, the oldest daughter Margareta Juliana (married to the Nils Brahe ) project continued. But the work was now going down and only minor measures were taken in the beginning of the 18th century. The banquet hall, which would have become one of northern Europe’s largest, was never completed. The corridors were adorned during the 18th and 19th centuries with wall and ceiling paintings. Among other things, there are 151 “messages” or “good advice” in five different languages (see also the section “Other rooms”). In the 1750s, Erik Brahe cared deeply about the castle’s care and maintenance.
During the 1830s and 1840s, some changes took place, which the then owner Magnus Brahe had carried out. His ambition was to restore some room interiors that to some extent disappeared during the 18th century or that had never been in place. The aim was to enhance the castle’s 17th century character and emphasize the traces of Wrangel. Magnus Brahe, who was close to Karl XIV Johan, also set up a memorial room over the king in one of the tower rooms. Here he made a statue of the god of war Mars carrying the king’s face. The sculpture over three meters high was created around 1830 by Niklas Byström.
For its maintenance, the castle in Skokloster was constantly dependent on revenue and a large part came from tourists. The visitors arrived already in the 1750s and during Baron Rutger von Essen (1914–1977) the external facilities were expanded to attract visits. Among other things, an automobile museum was established in 1963, which was counted as one of Sweden’s oldest. In 2008, the museum moved to Simrishamn.
The unfinished room
The so-called “unfinished hall” is located on the third floor in the west long and would become the castle’s banquet hall for bales, banquets, concerts and dance. The room has a size of 325 square meters and a ceiling height (to the lower edge of the trusses) of 15 meters. The hall has the longest full width and daylight is let in from both long sides through windows arranged in seven window shafts and on two floors. The roof chair was built of heavy pine from Hälsingland (see also the section “Construction work”). The underside of the roof tiles is visible from the floor, as they lie on the open hood and make up the entire sealing layer. The roof construction on Skokloster’s castle, where the boilers are attached to the underside with lime use, is unique to Sweden.
When the command came from Germany that Carl Gustaf Wrangel had died in his palace on Rügen, the craftsmen dropped their tools and went home to never return. They were afraid they would not get paid. Given the constant lack of money, fear was not entirely unjustified. The hall is in the same condition as it was left in 1676 and therefore gives a situation picture from a construction site over 350 years ago. One explanation for the fact that the hall was never made clear was the change of the high part in the late 17th century. Charles XI withdrew many of the nobility’s goods into the crown in an attempt to strengthen the state’s finances. Today, this abandoned construction site is a good illustration and research source for how such works were conducted in the mid-17th century.
The King’s Hall
The King’s Hall is located on the eastern side of the second floor and in the middle of the Wrangel Floor, between the Count’s and Countess’s room suites. At Wrangel’s time, the room was called “the daily dining room”. In the 18th century the walls were adorned with portraits of royal regents, and the room was then called the King’s Hall. Here are monomental paintings showing Karl X Gustav, Karl XI and Karl XII. For the work, the most famous artists of the day answered Jacob von Sandrart, David Klöcker Ehrenstrahl and David von Krafft.
The King’s Hall is the castle’s most lavish room. Here are patterned limestone floors, golden leather on the walls and a decorated ceiling showing polychrome reliefs in stucco with different themes. In the center of the roof, the ancient hero Jason is pouring poison into the dragon’s eye to access the Golden skin. In the dragon’s gap, one of the oldest chandeliers hangs in Europe. It is made in Stockholm by Melchior Jung and has been in Skokloster since 1672. Around the center of the roof are the four continents Asia, America, Africa and Europe. It took almost a year to complete the roof, and Hans Zauch from Bavaria was responsible for the work.
Wrangel’s Space Suite
On each side of the King’s Hall is the Count’s and Countess’s room suites, which consist of each their own bedroom with atrium. The Count’s atrium is dominated by a monumental painting by David Klöcker Ehrenstrahl, showing Wrangel a horse with a bloody guard. The walls are clad with golden leather and here, among other things, paintings with Wrangel’s wife Anna Margareta von Haugwitz and their common children. The walls of the county’s meadow bed are covered with woven wallpaper called “English Hunt” and consist of seven parts. They are made in Gouda in the Netherlands. The wallpaper motifs represent hunting of different kinds, framed by a lush nature. At the top of each part is a coat of arms interwoven. The bed itself has drapes made of red, floral patterned silk fabric. In the outlines of the flowers there are sequins of genuine silver.
Countess Wrangel’s atrium is distinguished by a beautiful stucco roof, possibly the most beautiful in the entire castle. In the midfield, playing putti and in the corners are shown allegorical motives. One of the room’s treasures is a harpsichord with figure paintings on the opened lid. In the county’s bed chamber, the floor does not consist of limestone tiles, as in the other rooms, but of a patterned oak and pine floor. It got warmer on my feet. On the walls there are woven wallpaper from the same Dutch production as in the county’s bed chamber. The bed was made in Germany and has a sculpted backing in silver-plated papier-mâché.
Brahe’s room suite
In the west, on the same floor as Wrangel’s room suite, a number of exclusive guest rooms were furnished, including the then 16-year-old Charles XI and his mother Hedvig Eleonora. From the beginning of the 18th century and during a few summers Brahe lived in this part, which was then called the Brahvåning. Here, the yellow atrium is marked with a roof similar to a landscape of vines in stucco. Over one of the doors is a portrait of the new house owner Nils Brahe the younger. The room was furnished as a “living” living room until 1967. In Brahe’s dining room, a magnificent fireplace dominates. The front which is adorned with wood carvings carries the Wrangelska family weapon.
Wrangel’s resting chamber
The rust chamber is located on the fourth floor (the attic floor) and comprises three rooms, one of which is in the corner tower. In the spring of 1670, two carpenters were commissioned to prepare exhibition and storage rooms for Wrangel’s weapons collection. On walls, ceilings and floors there are guns, swords, swords, armor and bows. Wrangel also collected refined door locks and exotic finds from distant countries such as a South American hammock, a Greenland kayak and stuffed animals. These are thousands of items. In the western tower chamber, the famous Skokloster shield, a Renaissance work from around 1560, is ordered by Erik XIV.
Wrangel decided in its will that everything would remain at Skokloster and today the objects are in agreement with the 1710 inventory. This is the earliest spatial inventory that has been preserved for the Wrangles rustic chamber. The rust chamber at Skokloster is thus the only one in the world that has been preserved in its original condition. With the rust chamber, Carl Gustaf Wrangel wanted to show that he gathered the very latest from the technical fields. In addition to the Wrangles weapon collection, there is also Braheska and the Bielkeska. The weapon collection is one of Europe’s best known.
In the rustic chamber is a model of Gripenberg’s castle and the very detailed model of Skokloster’s castle, which was manufactured in 1657 in Pomerania probably by Barthel Volkland. The model was a complement to the drawings and would be used to facilitate the work with the castle building. Each floor can be lifted off and you can see the interior.
The entrance hall is one of the castle’s most beautiful room environments. The ceiling is supported by eight double columns in the ionic order. They are in white marble, which Wrangel ordered in Amsterdam, and carved by Johan Wendelstam in Stockholm. They were set up in the 1660s when the stellar vaulted.
As previously mentioned, the corridors were prepared (also called “the galleries”) mainly after Wrangel’s time in the 18th century. They are illuminated by the tall windows facing the courtyard. The ceilings consist of painted boards. On the walls are paintings showing members of Herman Wrangel’s officers’ corps, painted in the 1620s, which was moved from the “Old Castle”. Over the doors on floor 2, fantasy images are showing busts of Roman imperators. Over the doors of the guest bedroom floor (floor 3), copper engraving hangs from city motifs that illustrate the names of the rooms (Middelburg, Antwerp, Florence, Geneva, Tours, etc.) The rooms were named already in the 17th century and the names are used with some changes even today.
Interesting are the breasts. On them there are 151 “messages” or “sayings” in Swedish, Latin, Italian, Spanish, French, English and German. Ever since they were placed, visitors have bent down to study all good advice. One of them reads: Hard emoot hard said the woman fell on the moot halibut! and another: Bÿggia huus with whomever’s mans advice dh old age task up. (about: “a house built with the advice of each one never wants a roof”). Under Caligula’s bust is very striking: Oderint, stupid metuant – “May they hate, only they fear”.
The corridor on the fourth floor (the attic floor) has a lower ceiling height and is simpler in shape. The floors are covered with wood, the walls are whitewashed with a painted chest and the ceiling has exposed beams, painted in different colors.
The castle today
In the 1940s, the ground floor was converted into a residence for the last private owners, the von Essen family. On February 23, 1967, Skokloster’s castle was purchased with the approximately 50,000 inventories of the Swedish state for SEK 25 million. However, the large possessions belonging to Skokloster were retained within the von Essen family. The castle became a state museum and was part of the authority Livrustkammaren and Skokloster’s castle with the foundation Hallwylska museet between 1978 and 2017. Since the beginning of 2017/2018 it is included in the authority Statens historiska museene. At Skokloster there are three weapons collections: the Wrangelska, the Braheska and the Bielkeska. The owner families have over the years collected art, textiles, handicrafts, books and ceramics from 1550 to 1850.
When the state took over the castle, extensive renovation work, which lasted about ten years, was initiated by the then Building Agency under the leadership of architect Ove Hidemark. Now the ambition was to secure the substance of the building with as few interventions as possible. Among other things, the castle’s foundation and roof needed to be strengthened. During the restoration, only traditional materials and methods from the 17th century were used, and the technical manuals from the original building were used which remained in Wrangel’s library. The original pad was left, for repair of damaged lots new use was used with the same composition as the old one. As of 2014, a total renovation of the castle’s roof is underway.
Remaining in the unfinished park there are also many of the old trees that were delivered in 1684, for example the linden alley.
In 1996, the castle’s administration moved to “Stenhuset” to be moved again to the castle in 2012. The office part is in the von Essen family’s previous floor.
The State Real Estate Agency has built a building-historical exhibition that is permanently placed in the ground floor of the castle. In other rooms there is a castle shop, café and premises for temporary exhibitions. The castle’s halls lack modern heating and also have no electrical installations. The lighting is only done with the help of daylight.
North of the castle is the medieval Skokloster’s church, former monastery church at Sko Monastery. Herman Wrangel paid a renovation in the years 1620-1624. In the church there is the Wrangelska grave, which probably stood clear in 1639. Carl Gustaf Wrangel died in 1676 at the castle Spyker on Rügen. He was buried in 1680 in Riddarholmskyrkan in Stockholm and was then buried in the Wrangelska burial ground in Skokloster’s church.
Skoklosterspelen was a historical festival that was arranged every year between 1993 and 2007 in and around the castle and Skokloster’s church. In 2012, the tournament resumed in the park: “Riddarspel Skokloster’s castle”, which is arranged in cooperation with Nordic Knights.
The finished parts of the castle display the full, sumptuous splendour of the Baroque. Its detailed chambers are home to collections of paintings, furniture, textiles and silver and glass tableware. One of the most famous paintings is the 16th century Vertumnus by Italian master Giuseppe Arcimboldo, depicting the face of Holy Roman emperor Rudolf II as the Roman god of the seasons using fruits and vegetables. The painting was taken as war booty in Prague in the 17th century.}
The castle armoury and library are noteworthy, both founded on Wrangel’s collections of weapons and books and enriched and enlarged by other 17th- and 18th-century aristocratic bequests, such as those by Carl Gustaf Bielke.}
The armoury contains the largest collection of personal 17th century military weapons in the world. Mostly muskets and pistols, but also swords – including Japanese samurai swords – small cannons, pikes and crossbows. The weapons collection also includes various exotic items such as a 16th-century Eskimo canoe and snake skins. The original scale model of the castle, which the architect Caspar Vogel had made to demonstrate his plan to Count Wrangel, is also there.
The Portrait Collection
Skokloster’s portrait collection comprises 600 works, most of which are painted in oil on canvas. About one hundred are depicted with other techniques, such as engravings and pastels. Most portraits are unsigned. The collections lack big names like Rembrandt and Rubens. The most well-known is David Klöker Ehrenstrahl, born in Hamburg. He began his career in 1651 with Carl Gustaf Wrangel. Furthermore, Alexander Roslin, the German Matthäus Merian and the Dutchman Abraham Wuchters are represented as well as the Italian Giuseppe Arcimboldowith several of their festive fruit and vegetable portraits. A few portraits are painted in the 16th century, most in the 17th century. The last portrait under private ownership dates from 1961 and depicts Gustav VI Adolf.
Skokloster Castle’s Ownership Length
1611: By lean Herman Wrangel (1587–1643), gm 1: o Margareta Grip, who received the goods in the morning gift 2: o Catharina Gyllenstierna 3: o Amalia Magdalena of Nassau.
1628: His son in the first marriage Carl Gustaf Wrangel (1613–1676) as inheritance from the mother, took up the estate with the stone house at the death of his father in 1643, GM Anna Margareta von Haugwitz.
1654: The current castle is being built.
1676: Their daughter Margareta Juliana Wrangel (1642–1701), fidei-commissar, gm Nils Brahe the younger.
1701: His son Abraham Nilsson Brahe (1669–1728), gm 1: o Eva Bielke 2: o Margareta Fredrika Bonde.
1728: His grandson Erik Brahe (1722–1756), gm 1: o Catharina Sack 2: o Stina Piper.
1756: His son in the first married Per Eriksson Brahe (1746–1771), unmarried.
1772: His half-brother Magnus Fredrik Brahe (1756–1826), gm 1: o Ulrika Koskull 2: o Aurora Wilhelmina Koskull.
1826: His son in first marriage Magnus Brahe (1790-1844), unmarried.
1844: His half-brother Nils Fredrik Brahe (1812-1850), m. Hedvig Elisabet Maria Amalia Piper.
1850: Their son Nils Claes Brahe (1841–1907).
1907: His brother Magnus Per Brahe (1849–1930), gm 1: o Anna Augusta Nordenfalk 2: o Emelie Augusta Reuterskiöld.
1930: His sister-in-law Gustaf Fredrik von Essen (1871-1936), gm Wera Lagercrantz.
1936: Their son Rutger von Essen 1914-1977, gm Hermine Tersmeden.
1967: By purchasing the Swedish state.