Af Chapman (ship)

The Admiralty House (Swedish: Amiralitetshuset) is an admiralty house on the islet Skeppsholmen in central Stockholm, Sweden. Built in 1647-50 as the Admiralty Board moved over to Skeppsholmen, and probably designed by Louis Gillis, a Dutch architect operating in Stockholm since the 1620s, it was built in a Dutch Renaissance style with stepped gables, much like the present building, but the limestone portal is the only part remaining from this period. In 1680-1750 it was used as an archive, and then as a corn stable until 1794 when rebuilt as a barrack. Still used as the latter, it was redesigned in 1844-46 by the architect Fredrik Blom as a Neo-Renaissance building with turrets added on the corners. It was rebuilt in 1952 by Rudolf Cronstedt to accommodate the Admiralty again, but today houses the Swedish Tourist Association (Svenska Turistföreningen, STF).

The Nautical Chart Department (Swedish: Sjökarteverket) is a building located on the islet Skeppsholmen in central Stockholm, Sweden. Built in 1871-1872 to the plans of Victor Ringheim, head of the Engineering Department and successor of Fredrik Blom, this building was originally a well-proportioned two-storey structure, in 1910 heightened with one floor, and in 1937-1938 lengthened with three window rows. The building replaced a small log house on the site, for long, 1747–1861, known all over town as the tavern Tuppen ("The Rooster") and praised by Carl Michael Bellman in his 67th epistle. The Department, originally located on Riddarholmen, used the building to store the partly secret nautical charts before a various shipping departments were gathered under one body, the Swedish Maritime Administration in 1956, and the scattered institutions physically united under a single roof on Gärdet in 1965. The building then housed the Museum of Architecture during the period 1966–1993, to serve the architecture department of the school of fine arts, before accommodating Designforum Svensk Form, an exposition space promoting Swedish design from 2005.

Intendenturförrådet (Swedish: Commissariat Warehouse) is a building on the islet Skeppsholmen in central Stockholm, Sweden. Designed by the city architect Johan Eberhard Carlberg (1683-1773) in 1728 and completed in 1731, the warehouse was where the Crown kept grains and other goods collected as taxes paid in kind. By 1795 it was briefly used to store the royal trophies before it was rebuilt into an Army storage in 1795. It then escaped two attempts by the Navy to transform it into a barrack in 1829 and 1898, and is still used for storage. While the plain buttoned-up exterior with its small arched windows and simple verticals is striking contrast to the contemporary Grand-Baroque Stockholm Palace across the water, the warehouse remains unique in several ways: It is the only historical structure on Skeppsholmen never used by the Navy; the only remaining major building by Carlberg; and it is arguably the only building of its kind in Stockholm which remains unaltered since its construction.In 2006, the building was one of several potential locations identified for a proposed new Design Museum in Stockholm. As of 2012, the plans for such a museum had not moved forward.

The Skeppsholmen Church (Swedish: Skeppsholmskyrkan) is a former church on the islet of Skeppsholmen in central Stockholm, Sweden.

S/S Orion is a steam-powered ship moored on the western shore of the islet Skeppsholmen in central Stockholm, Sweden. It is a listed historic ship of Sweden. The vessel, which is the oldest of its kind still remaining in Sweden, now serves as a museum ship.

Skeppsholmsbron (Swedish: "The Skeppsholm Bridge") is in central Stockholm, Sweden, connecting Blasieholmen to Skeppsholmen. The bridge, 165 metres long and 9.5 metres wide, consists of a 5.5 metre wide roadway flanked by 2 metre pathways, and has 5 arches. It was the first forged iron bridge to be constructed in Sweden, manufactured by Motala Verkstad in 1861.The Gilded Crowns on Skeppsholmsbron are a set of two crowns at the midpoint of the bridge. The crown is a symbol of Sweden and the Royal Family of Sweden and it can be clearly seen on the Coat of arms of Sweden. The first bridge to connect Skeppsholmen to the rest of the city was a wooden bridge on poles, simply called Holmbron ("The Islet Bridge") and provided with a drawbridge, constructed by the admiralty in 1638-1640 when the camp of the Swedish Navy was relocated from Blasieholmen to Skeppsholmen. In 1822 the bridge was damaged in a fire, and subsequently replaced by a temporary pontoon bridge. Funded directly and still owned by the state, the present steel bridge was finally inaugurated in 1861.In 1935 the bridge together with other building and structures on Skeppsholmen and Kastellholmen were classified as historical landmarks, thus prohibiting replacing the bridge or altering its exterior, a decision nevertheless reassessed in the 1990s.

Tyghuset (Swedish: "The Arsenal"[1]) is a building on the islet Skeppsholmen in central Stockholm, Sweden, today housing the Museum of Far Eastern Antiquities.

The Museum of Far Eastern Antiquities (Swedish: Östasiatiska museet), located in Stockholm, Sweden, is a museum launched by Sweden's Parliament in 1926, with the Swedish archaeologist Johan Gunnar Andersson (1874–1960) as founding director. The museum is located on Skeppsholmen in the building Tyghuset and since 1999 the museum is a part of the public Swedish National Museums of World Culture.

The Royal Institute of Art (Swedish: Kungliga Konsthögskolan) is an institution in Stockholm, Sweden for higher education in art, founded in 1735. The school was part of the Royal Swedish Academy of Arts, until 1978 when it was made independent. It is under the supervision of the Ministry of Education and Research.

Stockholms ström (The Stream of Stockholm), also known as Strömmen (The Stream), in Stockholm is the innermost part of Saltsjön, a bay of the Baltic Sea. It continues into Lake Mälaren through Norrström and Söderström.

The Four Elements is a monumental mobile sculpture created by the American sculptor Alexander Calder in 1961. The sculpture is a motorized moving group of four metal sheets. The artwork is about 30 feet high. The sheets are painted in plain colours. This sculpture is made after a Calder model from 1938. The Four Elements is a long-term installation and located in front of the entry to Moderna Museet in Stockholm, Skeppsholmen. The artwork was brought from New York by Pontus Hultén (that time, the director of Moderna Museet). The Four Elements was a part of the exhibition Movement in Art (Rörelse i konsten), and the exhibition was on display in Moderna Museet from 16 May till 10 September 1961. As a memory of the artist's extensive presence in the exhibition, Calder's The Four Elements was left standing outside the museum. The artwork became a signature and a veritable symbol of the Moderna Museet. It was donated to the museum by Alexander Calder and the engineer Allan Skarne in 1967. The Four Elements is a part of the Sculpture park (Swedish Skulpturparken) outside the Moderna Museet.

Lenin Monument April 13th 1917 is a 1977 public art installation by Swedish artist Björn Lövin. It is part of the outdoor collection of Moderna Museet in Stockholm and is located on Skeppsholmen near the museum's main entrance. The artist made the installation based on a 1917 Axel Malmström photograph of Vladimir Lenin and entourage leaving the Stockholm Central Station on foot. The installation was first exhibited in 1977 at Kulturhuset, Stockholm, as part of Lövin's exhibition Minnet sviker (Failed Memory), and was purchased by Moderna Museet the same year.The work recreates a cobblestone street section in which the title character is absent and only represented by a cross-mark. Unlike a huge number of Lenin monuments and statues around the world, this work is not a celebration of the disputed Russian revolutionary. Instead, it is rather an anti-monument – a "nonument" – that challenges the underlying power structures that determine which sites, people and dates are recognized as historically significant. A similar approach can be seen in works by artists such as Braco Dimitrijević, Jochen Gerz and Walid Raad. The work is not a tribute to a person or a deed, as is often the case with monuments. Instead, it raises questions of what and how we remember, or want to remember, collectively.