This study aims to present, examine and analyze the artistry of Gunhild Fryklund (1892-1970). Information is mainly collected through archive studies of museums and archives local to Fryklund’s domicile of Värmland, as well as some national Swedish museums. The theory of the three positions for the feminist’s encounter with the canon, coined by Griselda Pollock in 1999 is central to the study. The result is discussed in relation to these theories of canon in an attempt to explain the named artist’s absence in art history. One conclusion is that this could be due to a lack of social networks and economic resources as a result of limited access to education for women, for example the scarcity of longer education. Discussions about the context of female artistry in 20th century Värmland, as well as the concept of the ‘forgotten artists’ are held. The artworks that the author has encountered while writing the essay have been compiled in a catalogue that is of great importance in creating a wider understanding for the art of Fryklund.