Asian Sale 4 December 2015 by Uppsala Auktionskammare

ceramics and works of art

4 december 2015

asian sale

internationell kvalitetsauktion

important sale 1 - 4 december 2015 preview in stockholm at Nybrogatan 20, Stockholm

friday 13 november saturday 14 november sunday 15 november monday 16 november tuesday 17 november wednesday 18 november thursday 19 november friday 20 november saturday 21 november sunday 22 november

10 am ‑ 6 pm 11 am ‑ 5 pm 11 am ‑ 5 pm 10 am ‑ 6 pm 10 am ‑ 6 pm 10 am ‑ 6 pm 10 am ‑ 6 pm 10 am ‑ 6 pm 11 am ‑ 5 pm 11 am ‑ 5 pm

viewing in uppsala at Dragarbrunnsgatan 73, Uppsala

wednesday thursday friday saturday sunday

tuesday & wednesday 1- 2 december at 12 noon classic sale

25 november 1 pm ‑ 7 pm 26 november 1 pm ‑ 5 pm 27 november 1 pm ‑ 5 pm 28 november 11 am ‑ 5 pm 29 november 11 am ‑ 5 pm

thursday 3 december at 12 noon modern sale

friday 4 december at 10 am asian sale

dragarbrunnsgatan 73, uppsala, sweden. tel +46 (0)18 ‑ 12 12 22 www.uppsalaauktion.se

uppsala auktionskammare Specialists and services for this auction Magnus Bexhed VD CEO bexhed@uppsalaauktion.se

Karl-Magnus Törnros Intendent Specialist tornros@uppsalaauktion.se

Sara Gellermark Ekonomichef CFO gellermark@uppsalaauktion.se

Cronje van Walleghem Vice VD, Intendent Vice CEO, Specialist walleghem@uppsalaauktion.se

Julia Unge Sörling Assistent Junior Specialist sorling@uppsalaauktion.se

Charlotte Johansson Ekonomi Accounts c.johansson@uppsalaauktion.se

Knut Knutson Expert Head Specialist mail@uppsalaauktion.se

Clara Sunesson Assistent Junior Specialist sunesson@uppsalaauktion.se

Agnes Lidehäll Marknadskoordinator Marketing Coordinator lidehall@uppsalaauktion.se

Charlotte Widenfelt Intendent Specialist widenfelt@uppsalaauktion.se

Catherine Klev Assistent Assistant c.clev@uppsalaauktion.se

Jonas Jöreskog It-ansvarig IT manager joreskog@uppsalaauktion.se

Rikard Klev Chefsintendent Senior Specialist klev@uppsalaauktion.se

Katherine Huang Assistent Assistant huang@uppsalaauktion.se

Olav Nyhus Fotograf Photographer nyhus@uppsalaauktion.se

Fredrik Blidberg Intendent Specialist blidberg@uppsalaauktion.se

Jeanna Ahlin Assistent Assistant ahlin@uppsalaauktion.se

Åsa Liffner Fotograf, konsult Photographer, consultant

Oscar Silfverhielm Intendent Specialist silfverhielm@uppsalaauktion.se

David Magnusson Assistent Assistant magnusson@uppsalaauktion.se

Representant Södermanland: Representative Cathrina Engström‑Kjellberg antikvardering.cek@telia.com

kundtjänst Services

Betalning

Avhämtning

Payment

Collection

Tel: +46 (0) 18 18 35 02 ekonomi@uppsalaauktion.se Fax: +46 (0) 18 14 80 97

Tel: +46 (0) 18 12 12 22 mail@uppsalaauktion.se Fax: + 46 (0) 18 14 80 97

asian sale friday 4 december 2015

the sale for this catalogue will be conducted on friday 4 december 2015 at 10 am. for condition reports visit www.uppsalaauktion.se

payment & collection Monday - Friday 1 pm ‑ 5 pm, Wednesdays 1 pm - 7 pm Not later than Wednesday 16 December 2015.

information Call +46 (0)18 ‑ 12 12 22, or mail@uppsalaauktion.se Final results can be obtained at www.uppsalaauktion.se

important notice to buyers pre-registration requirements 给买家的重要告示预先登记手续 Please note that to be able to bid at the Asian Sale you are required to pre-register for this auction and pay a deposit on request. For pre-registration please see: www.uppsalaauktion.se It will not be possible to bid without preregistration. You will need to pre-register and pay a deposit of SEK 50.000 on request to be able to bid at the Asian Sale. This applies to all bidding: online bidding, telephone bidding, all absentee bidding and in-person bidding in the sale room. All clients must submit a completed preregistration application form at least three (3) days prior to the start of the auction to be able to process the pre-registration. Uppsala Auktionskammare will NOT be able to accommodate first-time bidders within three (3) days of the auction. For enquiries please contact: preregistration@uppsalaauktion.se

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1000. A Qingbai bowl The interior with stylized flowers. Period: Song. Diameter: 14,5 cm.

1000

/ 4.000 - 5.000 / / 2 430 - 530 /

1001

1001. A Qingbai bowl On the exterior stylized flowers. Period: Song. Diameter: 17 cm. / 4.000 - 5.000 / / 2 430 - 530 / For condition reports visit: www.uppsalaauktion.se

1002

1002. An unglazed pottery figure of a horse The horse modelled standing four-square on a rectangular base, with the head held high and vividly sculpted with flared nostrils and mouth agape below bulging eyes and heavy brows, with a small saddle set atop a padded blanket, the docked tail above the muscular legs. Period: Tang. Height: 43 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Thermoluminescence Analysis Report sample No C114k34 from Oxford dated 21 October 2014 included.

1003

1003. A torso of a Han-type pottery horse Modelled in the round, the naturally rendered body mounted with a well-modelled head, with traces of pigment and with openings underneath the body for legs to be mounted in. Length: 46 cm, Height: 33 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

1004. A chestnut-glazed pottery figure of a horse Well-modelled, standing four square on a rectangular base with its head turned slightly to the left, and back legs slightly bent, the body covered overall with a rich chestnut glaze with streaks of straw glaze along its muzzle, his ears forward, his mane realised in darker streaks of chestnut, his tail docked. With a fitted wooden stand on which a label is attached stating: Tang Dynasty AD 618‑907, found at Lo-yang, Honan Province. Period: Tang. Height: 22 cm.

1004

/ 40.000 - 50.000 / / 2 4.300 - 5.300 / Provenance: from the collection of Henrik V. Jacobsen (1887-1955), Denmark, thence by descent. H.V. Jacobsen was the head of the Danish East Asia Company. Label: Tang Dynasty A.D. 618‑907 Found at Lo-yang, Honan Province.

1005

1005. A glazed pottery figure of a horse Standing foursquare on a small rectangular base with its head held high, the body covered overall with a rich reddish chestnut glaze apart from the saddle, which is unglazed, mane and docked tail with a straw glaze. Period: Tang. Height: 30 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / Thermoluminescence Analysis Report sample No C298f23 from Oxford dated 3 December 1998 included. For condition reports visit: www.uppsalaauktion.se

1006

1006. A ‘hare’s fur’ bowl Period: Song. Diameter: 12 cm. / 4.000 - 5.000 / / 2 430 - 530 / Label: National Museum 1928. O. Bj. (Oscar Björck). From the exhibition at the National Museum, Stockholm, Äldre kinesiskt konsthantverk ur svenska samlingar 1928. No. 238. p. 49.

1007

1007. A Qingbai jar The body with ribbed section and high foot, covered in a Qingbai glaze. Period: Song. Height: 10,5 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: formerly in the collections of Anders Hellström (1877‑1940), presented as a birthday present to the father-in-law of the present owner.

1008

1008. Two small Bowls Dingyao with incised floral work design. Period: Song. Diameter: 11 cm. / 4.000 - 5.000 / / 2 430 - 530 /

1009

1009. A Dingyao Bowl Pale celadon glaze foliate rim bowl on short footrim. Period: Song. Diameter: 16 cm. / 4.000 - 5.000 / / 2 430 - 530 / For condition reports visit: www.uppsalaauktion.se

1010

1010. A celadon censer On three feet, the bulbous body incised with lotus and other blossoms, the unglazed base showing red. Period: Ming. Diameter: 29,5 cm. / 6.000 - 8.000 / / 2 640 - 850 /

1011

1011. A celadon tripod censer The heavily-potted censer is raised on three mask and paw supports, the shallow rounded sides curve inward to the flat rim and are carved with the Eight Trigrams, covered overall with a celadon glaze. Period: Ming. Diameter: 30 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

From a Swedish private collection lots 1012 - 1023

1012. An elegant Tibetan bronze figure of Green Tara Cast seated in lalitasana on a double lotus base, the right hand lowered in varadamudra and the left raised to the chest, holding long multi-stemmed lotus flanking the shoulders and wearing a simple dhoti and elaborate beaded jewellery inset with turquoise, the face with downcast eyes and meditative expression surmounted by a foliate tiara inset with turquoise, the hair pulled into a high chignon and with blue pigment, the pendent right foot resting on an individual lotus issuing from the double-lotus pedestal, the base sealed. Period: 15/16th century. Height: 14 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: From a Swedish private collection. For condition reports visit: www.uppsalaauktion.se

1013

1013. A bronze figure of Buddha Seated in dhyanasana on a double-lotus base, his left hand in dhyana mudra and his right in abhaya mudra, dressed in a sash-tied dhoti folded across the body revealing the bare chest, the face in a meditative expression with fine features and downcast eyes flanked by long-lobed ears and all below the tightly curled hair set in the centre with the usnisha and decorated in blue pigment. Period: Probably 18th century. Height: 17,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: From a Swedish private collection.

1014

1014. A Tibetan bronze figure of a seated Buddha Cast seated in vajraparyankasana on a beaded double lotus base dressed in a diaphanous monk’s robe, with his right hand reaching forward in bhumishparsha mudra and the left hand resting in the meditation position and holding a vajra, the serene face with downcast eyes and gentle smile, flanked by long pendulous earlobes, the head and domed ushnisha covered with tight curls and surmounted by a jewel, traces of gilt. Period: 16/17th century. Height: 14 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: From a Swedish private collection.

1015

1015. A Chinese bronze figure of Guanyin Seated in dhyanasana on a double-lotus base and holding the amrita vase in his hands, wearing long flowing robes, beaded necklaces, armlets and bracelets, his face with a serene expression surmounted by an elaborate open-work tiara centred by the figure of Amitabha, with traces of blue pigment. Period: late Ming. Height: 15,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: From a Swedish private collection.

1016. A gilt bronze figure of a seated Buddha Shakyamuni The bodhisattva depicted seated crosslegged in padmasana on a lotus base with three levels of upright petals, the hands folded above the lap in dhyanamudra, the gesture of meditation, dressed in a sash-tied dhoti folded across the body revealing the bare chest, the hems incised with floral decorations, the face in a meditative expression with fine features and downcast eyes flanked by long-lobed ears and all below the tightly curled hair set in the centre with the usnisha, traces of red pigment on the lips and bottom part of the lotus stand. Period: Ming. Height: 35 cm.

1016

/ 20.000 - 30.000 / / 2 2.100 - 3.200 / Provenance: From a Swedish private collection.

1017

1017. A gilt bronze figure of Guanyin Cast standing on a lotus base wearing an incised dhoti tied at the waist, the bare feet revealed underneath, billowing robes over the shoulders and the scarf of longevity flowing at the sides, the chest bare, wearing necklaces, earrings and jewellery, one hand in a mudra the other holding a basket, the serene face framed by an elaborate tiara and with the hair tied in a high chignon, traces of red pigment. Period: Ming. Height: 36 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / Provenance: From a Swedish private collection. For condition reports visit: www.uppsalaauktion.se

1018

1018. A Chinese gilt bronze figure of Marici The deity is finely cast seated in dhyanasana, and holding her primary hands before her chest in anjali mudra with the secondary four hands holding various attributes or with their hands in mudras, her loose-fitting robes are incised with lotus scrolls on the hems and tied at the waist, leaving the bejewelled chest bare, her face is cast with a serene expression and a gentle smile, with a third eye in the centre of the forehead, a boar’s head to the right, and a grotesque head to the left, all surmounted by leaf-shaped tiaras, with traces of red fragment. Period: late Ming. Height: 19 cm. / 20.000 - 25.000 / / 2 2.100 - 2.700 / Provenance: From a Swedish private collection. Marici, whose name means ’ray of light’, is often referred to as the Goddess of Dawn. She assumes various forms, and in one she appears with three heads, including one of a wild sow. She has six or eight arms and holds various attributes including a needle, thread, a vajra, a hook or rope, and a bow and arrows. 1019

1019. A Tibeto-Chinese gilt bronze figure of Buddha Seated in dhyanasana on a double-lotus base, the hands held in dhyanamudra, dressed in a sash-tied dhoti folded across the body revealing the bare chest, the face in a meditative expression with fine features and downcast eyes flanked by long-lobed ears and all below the tightly curled hair set in the centre with the usnisha, the base sealed. Period: late 18th century. Height: 15,5 cm. / 8.000 - 12.000 / / 2 850 - 1.300 / Provenance: From a Swedish private collection.

1020. A gilt copper Nepalese-Tibetan figure of Vajradhara Seated in dhyanasana on a double-lotus base with his hands crossed before his chest holding a vajra and ghanta, clad in a striated dhoti, a long flowing scarf and adorned with various jewellery inset with hardstones, the face with elongated eyes centred by a raised urna and surmounted by a jewelled tiara, the hair pulled into a high chignon and topped with a conical finial. Period: 14/15th century. Height: 16,5 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: From a Swedish private collection. For condition reports visit: www.uppsalaauktion.se

1021

1021. A Canton enamel butter lamp With a bell-shaped base with a spreading foot rising to a shaft supporting a dish tray with everted rim, brightly enamelled with bands of lappets around the foot and around the tray with multi-coloured auspicious objects reserved on a bright yellow ground. Period: 19th century. Height: 14 cm. / 4.000 - 6.000 / / 2 430 - 640 / Provenance: From a Swedish private collection.

1022

1022. A Chinese cloisonné baluster vase The globular, squat body rising to a slender waisted neck finishing with a slightly everted mouth and supported on a short spreading foot modelled with a raised fillet, decorated around the body with a brightly enamelled scene of a boy riding a buffalo, a scholar and spotted deer in the foreground, all in a rocky landscape with trees and buildings, reserved on a turquoise ground, and set beneath a band of ruyi-heads and a further band of bats on the shoulder, the neck decorated with large scrolling lotus and auspicious objects also on a turquoise ground, and a band of ruyi-heads around the mouth. Period: 19th century. Height: 27 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: From a Swedish private collection.

1023. A Tibetan thangka In the centre a Gelugpa hierarch sitting on an elaborate throne behind a table with ritual instruments, surrounded by a landscape with mountains, a waterfall and religious buildings and with different protective deities such as Paldan Lhamo and Yamantaka. In the sky the Buddha of infinite Light, Amitabha, and at the bottom a Tibetan inscription in red against a black ground. The painting is set within a frame work, (thang ka´igos sam), of silk and brocade with a patch, (thang sgo or rtsa ba), made out of a mandarin rank badge (buzi) embroidered with silver and gold. Period: first half of 19th century. 70,5 x 41 cm (only painting). / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: From a Swedish private collection. For condition reports visit: www.uppsalaauktion.se

1024. A Rare Magnificent Gilt-Lacquer Figure of Buddha The figure seated in padmasana with right hand raised in vitarka mudra, the left hand held in dhyana mudra. The figure is wearing loose robes draped with a shawl that falls in graceful folds around the body, and is open at the chest to reveal an elaborate beaded necklace above a sash tied in a bow at the waist. The broad face is moulded with gentle expression. Period: Early Ming. Height: 48 cm. / 300.000 - 400.000 / / 2 32.000 - 43.000 / Provenance: Dr. Marko Weilgoni (1927-2007), Malmö, Sweden. Thence by descent to the present owner. Exhibited: ”Kina i kejsartid”, Riksutställningar 1968. Aquired at the exhibition at Malmö Museum, Sweden in 1968. Illustrated: Exhibition catalogue to the above exhibition, nr 22, illustrated page 19. The technique of coating carved wood figures with gilt-lacquer appears to have emerged during the early part of the Ming dynasty and followed on into the Qing dynasty, echoing Buddhist bronze figures in form and decoration. A highly-valued material, but less expensive than bronze, such lacquer sculptures would have been commissioned and donated to temples by the gentry.

For condition reports visit: www.uppsalaauktion.se

1025

1025. A Nepalese bronze figure of Shiva as Ardhanarishvara Shown standing, one half is depicted as Shiva, while the other half shows the female form of Parvati. Period: 19th century or earlier. Height: 14 cm. / 4.000 - 6.000 / / 2 430 - 640 / Ardhanarishvara is a composite androgynous form of Shiva and his consort Parvati. This form is shown as a fusion of half-male and half-female forms, split down in the centre. One half is depicted as Shiva, while the other half shows the female form of Parvati. The very name Ardhanarishvara implies ”the Lord who is half-woman”.

1026

1026. A Tibeto Chinese gilt bronze figure of Amitayus and a miniature gilt bronze figure of Amitabha Amitayus cast seated in dhyanasana on a lotus base with beaded rim, wearing long flowing robes, beaded necklaces, armlets, bracelets and a flowing scarf, his face with a serene expression surmounted by an elaborate five-leaf tiara, richly gilt overall, and Amitabha cast seated in dhyanasana on a double lotus base, wearing a pleated robe draped over the left shoulder and falling in loose folds over his crossed legs, his face with a serene expression and his hair gathered and surmounted by the ushnisha. Unsealed base. Period: Late 18th century/around 1800. Height: 6,5 cm and 3,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: A German private collection, Hannover, from the 1960´s, to the present owner.

1027. A Tibetan gilt copper alloy figure of Guhyasamaja and Sparsavajra The three-headed, six-armed deity seated in dhyanasana on a beaded double lotus base in yab-yum with his consort Sparsavajra, her legs wrapped around his waist, he is holding the vajra and ghanta in his principal hands and further attributes and his six-armed consort is also holding various ritualistic implements, both wearing long flowing dhotis and adorned with armlets, bracelets and elaborate foliate tiaras, the hair collected in high chignons. Sealed base. Period: 16/17th century. Height: 14 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / A tutelary deity in the pantheon of Vajrayana Buddhism, Guhyasamaja or ’Secret Assembly’, is the deification of the Guhyasamaja tantra, an important Tantric treatise. This specific Tantric treatise is believed to be one of the first Sanskrit texts to be translated into Tibetan during the 8th century. The three-faced, six-armed deity embraces his consort Sparsavajra and holds the diamond sceptre and priests-bell in his principle hands. For condition reports visit: www.uppsalaauktion.se

1028

1028. A bronze figure of a seated Daoist deity Seated in a reverential pose, one hand held across his chest, the other hidden in the folds of his long robe that is draped around the body and finely carved at the front with a writhing dragon in low relief, his boots protruding from underneath his robe, his face detailed with fine features portrayed in a meditative expression, with slender downcast eyes, a straight nose and defined lips sealed above his wispy beard, all surmounted by a tall headdress with two long pieces extending down onto his shoulders, seated on a later carved hardwood chair. Period: Ming. Height: 26 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 /

1029

1029. A lacquered wood figure of Buddha in a grotto Period: Qing. Height: 40 cm. / 4.000 - 5.000 / / 2 430 - 530 /

1030. A Tibeto-Chinese gilt bronze figure of Amitayus Finely cast seated in dhyanasana on a double-lotus base with beaded rim, the hands folded in dhyana mudra, dressed in a dhoti with a celestial scarf over the arms, the face with a meditative expression, crowned with a five-leaf diadem. Period: 18th century. Height: 17 cm. / 20.000 - 25.000 / / 2 2.100 - 2.700 / For condition reports visit: www.uppsalaauktion.se

1031

1031. A gilt bronze figure of Guanyin Cast seated in dhyanasana with right hand held in front of the chest and the left hand holding an attribute, dressed in loose, flowing robes with chased floral borders, the contemplative face framed by the knotted plaits and elongated earlobes suspending ornate earrings, the elaborate tiara centred by a figure of Amitabha Buddha. Period: Late Ming. Height: 32 cm. / 20.000 - 25.000 / / 2 2.100 - 2.700 /

1032

1032. A Chinese gilt bronze figure of Guanyin Cast seated in dhyanasana with the right hand raised holding the end of a willow stem and the left hand supporting a cup, dressed in long robes opening at the chest to reveal beaded necklaces, the contemplative face framed by elongated earlobes suspending ornate earrings, the tall headdress centered by a figure of Amitabha Buddha. Period: Late Ming. Height: 37 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

1033. A Chinese gold-lacquered bronze figure of Guanyin. The deity is cast seated in vajrasana, holding an elegantly moulded ruyi-sceptre with both hands in front of her chest, she is dressed in a long flowing robe draped around her body and sashed at the waist, finely decorated on the hems with raised and incised work of scrolling lotus and leaves, she is adorned with beaded and tasselled necklaces and long earrings, the face detailed with fine features portrayed in a meditative expression, with slender downcast eyes, a straight nose and defined lips, all surmounted by a tall and elaborately decorated tiara with her long hair in tresses cascading down either shoulder. Period: Late Ming. Height: 49,5 cm. / 175.000 - 200.000 / / 2 19.000 - 21.000 / Provenance: A gift from Nils Nessim to the present owner. For condition reports visit: www.uppsalaauktion.se

1034

1034. A Tibeto-Chinese gilt bronze figure of elevenheaded thousand-armed Avalokitesvara The standing figure cast with eleven heads, arranged in three tiers, surmounted by one head with a wrathful countenance topped by a small head of Amitabha, and the arms with the principal hands held in anjalimudra, six fanned out holding attributes and the remaining arms separately cast surrounding the deity, the figure adorned with jewellery inset with coloured stones, a deer skin draped over the left shoulder and clad in shawl and a two-layered dhoti, cold gold painted and with traces of blue pigment, the base sealed and incised with a double vajra. Period: 19th century. Height: 19 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

1035

1035. A Chinese bronze figure of a warrior. The deity, possibly Weituo, is dressed as a warrior, modelled standing, the arms and hands raised in front of the chest with the palms together, wearing chainmail armor over flowing robes, the midriff with a fierce ’monster’ mask, the face with a gentle expression, with traces of gold lacquer. On a carved wood stand. Period: Late Ming / Early Qing. Height: 28 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1036. A Tibeto-Chinese bronze figure of Yamantaka and consort. The buffalo-headed deity and his consort Yami cast standing in alidhasana atop prostrate bodies over an oval lotus base, the principal arms embracing his consort and grasping a vajra and a skull cap, with the secondary arms radiating behind him and the hands held in mudras, he is wearing a necklace of skulls, with beaded festoons around the body and bracelets, armlets and anklets inset with hardstone, his three faces with wrathful expressions surmounted by a skull crown before flaming hair, traces of gilding. Period: ca. 1900. Height: 34,5 cm. / 150.000 - 200.000 / / 2 16.000 - 21.000 / For condition reports visit: www.uppsalaauktion.se

1037

1037. A Chinese bronze figure of Bodhisattva Cast seated in dhyanasana with right hand in abhayamudra and left hand in avakashamudra holding long multi-stemmed lotus flanking the shoulders, an elaborate necklace covering the exposed chest, the shoulders draped with a shawl whose long trailing ends reach to the bottom of the double lotus throne, the hair gathered into a double chignon and encircled by an elaborate crown. Period: Ming. Height: 34 cm. / 40.000 - 50.000 / / 2 4.300 - 5.300 /

1038

1038. A Chinese bronze figure of a seated Shakyamuni Buddha Seated with hands held in dhyanamudra, the face with downcast eyes and a meditative expression adorned with an urna on the forehead, the hair tightly curled around the protuberant ushnisha, wearing loose robes decorated along the hem with lotus scrolls, draped around the shoulders and open revealing the bare chest with a wan symbol and an inner garment tied at the waist, seated in dhyanasana with dhoti falling over the legs. Period: Ming. Height: 36 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 /

From the collection of Emil Hultmark (1872-1943) Lots 1039 - 1041

Ph.D. Emil Hultmark was a scholar, donor and a patron of the arts. He was a prominent art collector in Sweden during the first decades of the 1900´s. His interests ranged from 15th century Italian paintings, Swedish paintings from the late 19th century, rare books, Egyptian antiquities, Persian ceramics and also Chinese art and antiques. Emil Hultmark had a remarkable collection of Oriental ceramics, bronzes, silver, lacquer and furniture. He contributed to the Exhibition of Chinese Art at the Royal Academy of Arts in London 1935-1936. Part of his Chinese collection was exhibited at the National Museum in Stockholm in 1928 and also at the Royal Academy of Arts in Stockholm in 1942.

For condition reports visit: www.uppsalaauktion.se

1039. A gilt bronze figure of Guanyin Cast seated in dhyanasana with the left hand holding a willow stem, and the right holding a cup, dressed in loose, flowing robes open at the chest to reveal elaborate jewellery, the borders of the robes chased with lotus scrolls, the face with heavy lidded downcast eyes, framed by knotted plaits, elongated earlobes with earring and the elaborate openwork tiara centered by a figure of Amitabha Buddha, with traces of red and black pigment. Period: Ming. Height: 31 cm. / 60.000 - 80.000 / / 2 6.400 - 8.500 / Provenance: From the collections of Emil Hultmark (1872‑1943), thence by descent. Literature: Svenska Hem i Ord och Bilder, volume 24, printed 1936, illustrated p. 175.

For condition reports visit: www.uppsalaauktion.se

The Rare “Hultmark” Imperial Dragon Jar 1040. The Rare “Hultmark” Imperial Dragon Jar Of baluster form with rounded shoulder tapering to a short straight neck boldly painted with two fierce five-clawed scaly yellow dragons with open jaws, amid clusters of stylised cloud motifs below a band of scroll work at the shoulder and above a band of rocks among crashing waves at the foot, all freely drawn in black outline and reserved against an iron-red background, the slightly recessed base left white and inscribed in underglaze blue with an unbordered six-character reign mark of Jiajing, labels attached for the Exhibition Royal Academy of Arts 1935‑1936 and Loo & co 5575 and for C.T. Loo & co NXXX/L. Period: Six character mark of Jiajing and of the period, 1522‑1566. Height: 20 cm. / 600.000 - 800.000 / / 2 64.000 - 85.000 / Provenance: From the collections of Emil Hultmark (1872‑1943), thence by descent. Exhibited: Royal Academy, London 1935‑36, no 948. Ph.D. Emil Hultmark had five objects on loan to the 1935‑1936 exhibition. The Hultmark jar was erroneously numbered 948, this was an object belonging to Eumorfopoulos. In the exhibition it was actually number 1949 and catalogued as: Jar: porcelain enameled with yellow dragons in red ground H. 20.3 cms. mark of Chia Ching period. Ming Dynasty. Lent by Dr. E. Hultmark. Stockholm. Emil Hultmarks Collection, Stockholm 1942 at The Royal Swedish Academy of Arts, nr 413 in the catalogue, illustrated p. 27.

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This particular design is an invention of the Jiajing period and can be found in two sizes, although the larger size is the rarer. Combinations of two different glaze colours are characteristic of the Jiajing reign, but the present one is a rare case where the two colours are superimposed and had to be fired at different times and at different temperatures. First a yellow overglaze was fired on to the jar, then red enamel was added with the designs in reserve, then black enamel was added for the detail. This jar has the labels of C.T.Loo, the renowned Chinese dealer who supplied many of the great collections of the day and was very involved with the Chinese Exhibition at the Royal Academy 1935‑1936. Indeed a number of the exhibits were from his own collection. For an almost identical jar of this large size see: The British Museum OA 1930‑7-19.48 from the collection of Harvey Hadden, illustrated in Ming Ceramics in the British Museum by Jessica Harrison-Hall 2001. See also Xia and Feng 1991, cat. no. 119, in the Jingdezhen Museum. See also Fontein and Wu, 1978, Oriental Ceramics, The World’s Great Collections, vol. 11: pl. 234, The Museum of Fine Arts, Boston,

Kodansha, Tokyo, 1978. See also Degawa 1995, Imperial Overglaze- Enamelled Wares of the Late Ming Dynasty, Osaka, 1995 cat. no. 9, Museum of Oriental Ceramics, Osaka for one with its original cover. Other smaller versions of this jar can be found in: The National Palace Museum, Taiwan, illustrated in Enameled Ware of the Ming Dynasty, Book II, Hong Kong, 1966, plate 4, 4a, 4b and 4c, p.54/5; another is illustrated by Regina Krahl in Chinese Ceramics from the Meiyintang Collection, Volume II, no. 706, p.86; another from the Avery Brundage collection in the Asian Art Museum of San Francisco is illustrated in He Li, Chinese Ceramics. A New Standard Guide, London, 1996, pl. 483, another in the Ashmolean Museum, Oxford, was included in the Oriental Ceramic Society exhibition Iron in the Fire, Oxford, 1988, cat. no. 64; another, from the Museum Yamato Bunkakan, Japan, is illustrated by Junkichi Mayuyama in Mayuyama, Seventy Years, Vol.1, 1976, no.834, p.278; a further example in The Tokyo National Museum, is illustrated in Exhibition of Chinese Ceramics, Tokyo National Museum, 1970, no.107, p. 86; another from the Collection of Mrs Alfred Clark was exhibited in the Oriental Ceramic Society Exhibition of Polychrome Porcelain of the Ming and Manchu Dynasties, 1950, no.98.

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1041. An Unusual Ming Dish Of square form with shallow rounded sides that rise to a slightly flared overted rim. The interior painted in shades of underglaze blue with two five-clawed sinewy dragons contesting a flaming pearl enclosing a ”shou” (longevity) character amidst ruyi clouds and flames above stylised rockwork and crashing waves within a double line border, the gently flaring rim with a continuous band of scrolling blossoms, the exterior with four striding dragons amidst ruyi clouds, the sixcharacter mark of Jiajing in two vertical lines on the base, the rim metal bound. Period: Mark and period of Jiajing. Measurements: 26 cm x 25,8 cm. / 60.000 - 80.000 / / 2 6.400 - 8.500 / Provenance: From the collections of Emil Hultmark (1872‑1943), thence by descent. Exhibited: At the Royal Swedish Academy of Arts, Emil Hultmarks Samling, Stockholm 1942, Sveriges Allmänna Konstförening, no 385, p. 45.

For condition reports visit: www.uppsalaauktion.se

1043

1044

1042

1042. A bronze tripod censer Period: Qing. Length: 18 cm. / 4.000 - 6.000 / / 2 430 - 640 /

1043. A gilt bronze cylindrical brush pot, bitong. Cast in shallow relief with cartouches of Arabic inscriptions, standing on three small feet and with a Xuande six-character square seal mark on the base. Period: 18th / 19th century. Height: 11 cm. / 6.000 - 8.000 / / 2 640 - 850 /

1044. A tripod bronze vessel, jue. The deep body is raised on three blade-form supports, and cast around the sides with taotie masks separated by flanges in late Shang style, degraded patination. Period: Possibly of the period. Height: 19,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

1045. A GoldSplashed censer, Gui Of bombe form supported on a short slightly splayed foot, flanked by a pair of elephant handles, the bronze patinated to a warm dark brown tone, liberally decorated with irregular gold splashes, cast with a Xuande mark on the base. Period: 18/19th century. Height: 8,5 cm. Length: 15 cm.

1045

/ 5.000 - 6.000 / / 2 530 - 640 /

1046. A bronze censer. Of archaistic form, cast with a compressed globular body rising to a waisted neck and slightly everted rim, all supported on a short foot, the exterior cast with two handles, the base with an apocryphal sixcharacter Xuande reign mark within a recessed panel. Period: 18th century. Length: 14 cm.

1046

/ 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: The Swedish ambassador Tage Grönwall (1903‑1988) who acquired this lot whilst stationed in Tokyo during the 1950´s and early 1960´s, thence by descent. For condition reports visit: www.uppsalaauktion.se

1047

1047. A Chinese export silver three-piece tea set Comprising teapot and cover, cream jug and covered sugar basin, each piece with a raised decoration of a fierce dragon swirling around the bodies, the interior gilt, marked Tuck Chong. Period: Late 19th / Early 20th century. Length of teapot: 26,5 cm. Comes in a silklined wooden box. Weight ca. 1055 grams. / 18.000 - 20.000 / / 2 1.900 - 2.100 / 1048

1048. A Chinese armchair Possibly Huanghuali. Rattan seat. Period: 18/19th century. Height: 93 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 /

From the collection of Mats Olof Gustafsson (1879-1928) Lots 1049 - 1054

Mats Olof Gustafsson was an editor at one of the foremost Swedish publishing firms, Norstedts and Sons. He had a keen interest in Oriental art and antiques and assembled a collection which has been passed down in the family. According to family tradition part of the collection derived from a Russian collection which had been dispersed after the Russian revolution.

For condition reports visit: www.uppsalaauktion.se

1049

1049. A Tibetan bronze mandorla With enamelled decoration. Period: 19th century. Height: 24 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Mats Olof Gustafsson (1879‑1928), thence by descent in the family. According to family tradition this lot came to Sweden from Russia in the 1920´s after the Russian revolution.

1050

1050. A bronze figure of Guanyin Traces of gilding. Period: Ming. Height: 23 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 / Provenance: Mats Olof Gustafsson (1879‑1928), thence by descent in the family. According to family tradition this lot came to Sweden from Russia in the 1920´s after the Russian revolution.

1051. A Bronze ”Qilin” incense burner and cover Cast as an incense burner in the form of a qilin standing foursquare with its head turned, its mouth ferociously opened revealing its teeth, the tail gently curling towards the left, the caparison elaborately detailed with playful qilin, tassels and intricate designs, inset with stones, the reticulated domed cover cast in the form of a cub sitting on top of an open lotus, the dome with floral scrolls, the patina of an attractive warm caramel-brown colour together with intricately carved wood stand. Period: Late Ming. Height: 24 cm. / 60.000 - 80.000 / / 2 6.400 - 8.500 / Provenance: Mats Olof Gustafsson (1879‑1928), thence by descent in the family. According to family tradition this lot came to Sweden from Russia in the 1920´s after the Russian revolution. Compare with a very similar example from the Ulrich Hausmann collection offered and sold at Sothebys Hong Kong, see Later Bronzes from the Ulrich Hausmann Collection October 2014. The example offered here has most of its stones inlay intact. For condition reports visit: www.uppsalaauktion.se

1052. Chinese Blue and White Ming Style bottle vase Painted in bright shades of cobalt blue in the fifteenth century style with simulated ’heaping and piling’, the globular body with six large flower heads borne on meandering leafy scrolls above a petal lappet border, the shoulder encircled by a band of foliate scroll above a band of pendent ruyi heads, with overlapping upright leaves on the waisted neck set between key-fret and ruyi borders below a band of waves at the flared mouth, all supported on a short straight foot with a band of classic scroll, the base with a six-character mark of Guangxu in underglaze blue. Period: M ark and period of Guangxu. Height: 39 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / Provenance: Mats Olof Gustafsson (1879‑1928), thence by descent in the family. According to family tradition this lot came to Sweden from Russia in the 1920´s after the Russian revolution. See the collection of the Palace Museum, Beijing illustrated in The Complete Collection of Treasures of the Palace Museum - 36 - Blue and White Porcelain with Underglaze Red III, Hong Kong, 2000, p. 174, pl. 159 for an almost identical Guangxu period vase of this type.

1053. A carved hardstone ‘double peach’ ruyi sceptre The sceptre carved with two large, ripe peaches above a bat forming the head, and a long curved handle carved with a trigram, a shou-character and a small bat at the base, the stone of a mottled colour in shades of russet and green. Length: 39 cm.

1053

/ 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Mats Olof Gustafsson (1879‑1928), thence by descent in the family. According to family tradition this lot came to Sweden from Russia in the 1920´s after the Russian revolution.

1054

1054. A jade square box, inner tray and cover Of rectangular section with slightly rounded sides, supported on four small feet, the cover realistically carved in relief with flowering branches and blossoms, including lotus and aquatatic plants on knarled branches, a bird hovering above, incised around the sides with lappets, the box also incised with lappets and a band of interlinked ruyi-heads, the stone of a pale colour with splashes of russet. Measurements: 11,5 x 11,5 x 7 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: Mats Olof Gustafsson (1879‑1928), thence by descent in the family. According to family tradition this lot came to Sweden from Russia in the 1920´s after the Russian revolution. For condition reports visit: www.uppsalaauktion.se

1055

1055. A jade kylin Lying in a recumbent position, his legs tucked under, the jade of a pale green colour with russet inclusions. Length: 8,5 cm. / 4.000 - 6.000 / / 2 430 - 640 / Label: Sothebys Arcade Auctions 235/7. According to consigner acquired at Sothebys in 1971.

1056

1056. A carved jade figure. Carved as a recumbent kylin. Length: 6 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

1057

1057. A carved jade plaque Of square canted form, carved on both sides in open-work with figures holding various objects surrounded by scrolling branches and framed within an archaistic border, the stone of a pale colour. Measurements: 8 x 7,5 cm. / 6.000 - 8.000 / / 2 640 - 850 /

1058. An antique jade carving of a horse Finely carved as a recumbent horse, its head turned back surveying a small monkey who is clambering onto its back, grabbing his tail, in one hand, the other hand holding a whisk, the horses mane and tail finely detailed, on a fitted wood stand intricately carved with stained green panels. Period: 18th century. Length: 5,5 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 /

For condition reports visit: www.uppsalaauktion.se

1059

1060

1059. A pair of cloisonné figures of horses Standing in a prancing position, their bodies covered in multi-coloured scrollwork reserved on a turquoise ground, each with a complex saddle and saddle blanket. Period: 20th century. Length: 50 cm, Height: 40,5 cm. / 25.000 - 30.000 / / 2 2.700 - 3.200 /

1060. A pair of cloisonné candlesticks Set on bell form bases rising to broad drip pans to the mid sections, tapering upper columns and smaller drip pans to the terminals, decorated with blossoms on a scrolling background, the rims with bands of keyfret and lappets above the foot. Period: Late Qing. Height: 38 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 /

1061. A Brown Silk Formal Court Robe, Jifu The robe is delicately embroidered with nine five-clawed gilt dragons, each sinewy dragon chasing the flaming pearl amongst scrolling clouds, flying cranes, bats and auspicious emblems above foaming waves. The borders are embellished with lishui stripes. Period: 19th century. Length 129 cm. / 40.000 - 60.000 / / 2 4.300 - 6.400 / Provenance: acquired by the present owner in the late 1940´s, by repute from the collections at Rockelsta manor, Södermanland. For condition reports visit: www.uppsalaauktion.se

1062

1062. A pair of double gourd cloisonné vases The upper bulb centred by a gilt roundel enclosing the character da and the lower with the character ji, forming the phrase da ji (good fortune), the two characters encircled by Buddhist emblems and further emblems including: twin fish, mystic knot, lotus flower, chimes scattered on the light blue ground, flanked by two large metal handles the bases inscribed with the incised four character mark of Qianlong. Period: 18th/19th century. Height: 23 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / The two characters da ji, repeated on either side of the vase, can be translated as ”great luck” and convey an auspicious wish for the owner. The double gourd or bottle gourd is also rich in symbolism, and is associated with fertility and longevity. Daji wall vases and plaques were also made in other materials, see a painted enamel double-gourd vase, also featuring the characters da ji amidst leafy scroll, dated to the Qianlong period, which was included in the exhibition Tributes from Guangdong to the Qing Court, Palace Museum of Art Gallery, the Chinese University of Hong Kong, 1987, p. 83, no. 43. Daji wall vases and plaques were also produced in porcelain; for example, see a daji hanging vase in the Shanghai Museum, included in Selected Ceramics from the Collection of Mr. and Mrs. J.M. Hu, Shanghai, 1989, pl. 70. For another example in carved lacquer see a double gourd vase, similarly decorated with a da and ji medallion in the Palace Museum, Beijing, published in Carved Lacquer in the Palace Museum, Beijing, 1985, pl. 289.

1063

1063. A silk embroidery Embroidered dragons, pheonixes and clouds. 57 x 100 cm. Period: late Qing. Framed. / 6.000 - 8.000 / / 2 640 - 850 / Not examined out of frame.

From the collection of Gustaf Wallenberg (1863-1937) Lots 1064 - 1067

Gustaf Wallenberg was appointed Swedish envoyé in Tokyo in 1906 and also for Peking in 1907. He stayed there until 1918 and created an impressive collection of Chinese and Japanese antique porcelain and other objects. The objects included in this sale were acquired during his time in China and Japan. They have since remained in the family.

For condition reports visit: www.uppsalaauktion.se

1064

1064. A Chinese Dehua ’Marco Polo’ Octagonal Censer With four scroll-shaped feet, the body moulded with registers of scrolling lotus, prunus, and foliage. Period: Kangxi. Diameter: 11 cm. Height: 8 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Envoyé Gustaf Wallenberg (1863‑1937). Thence by descent in the family. See one from Edward T. Chow collection. The University of Hull Art Collection, Chinese Ceramics from the Transitional Period (circa 1620‑1680 A.D.) from The Collection of Dr. & Mrs. Peter Thompson, 1985, no. 46.

1065

1065. A ding ware lotus dish Period: Song. Diameter: 12 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: Envoyé Gustaf Wallenberg (1863‑1937). Thence by descent in the family.

1066. A Chinese yellow-glazed ‘dragon’ dish, mark and period of Jiaqing. The shallow dish with a finely incised central medallion of a writhing fiveclawed dragon amongst clouds within double line borders, the exterior decorated in similar fashion with two dragons amongst clouds above the shallow foot encircled by a single incised line, all covered in a lustrous yellow glaze, apart from the white glazed base painted to the centre with a seal mark of Jiaqing in blue. Period: Jiaqing mark and period. Diameter: 17,5 cm. / 60.000 - 80.000 / / 2 6.400 - 8.500 / Provenance: Envoyé Gustaf Wallenberg (1863‑1937). Thence by descent in the family. For condition reports visit: www.uppsalaauktion.se

1067. A ”Medallion” Bowl The rounded sides rising from straight foot to a wide flared rim, decorated around the exterior in deep shades of cobalt with four rosette medallions within a ruyi-petal border, each enclosing a character, Wanshou wujiang (Boundless long life), evenly spaced among scrolling lotus and flanked by the bajixiang, between a band of petal panels encircling the foot and a frieze of pendent ruyi collaring the rim, the interior centred with a shou medallion, surrounded by the bajixiang, below pendent ruyi at the rim, the base inscribed with a six-character seal mark in underglaze blue of Qianlong. Period: Qianlong. Diameter: 18,5 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Envoyé Gustaf Wallenberg (1863‑1937). Thence by descent in the family.

1068. A Southern celadon barbed-rim ‘lotus’ dish The stoutly potted body with lobed rounded and ribbed sides rising from a short tapered foot to a broad everted barbed rim, applied overall with a light olive-green glaze. Period: Ming. Diameter: 29 cm.

1068

/ 8.000 - 12.000 / / 2 850 - 1.300 / Provenance: The Swedish ambassador Tage Grönwall (1903‑1988) who acquired this lot whilst stationed in Tokyo during the 1950´s and early 1960´s, thence by descent.

1069

1069. A Southern celadon dish Robustly potted and covered overall in a thick olive-green glaze save for a ring on the slightly recessed base left unglazed and fired pale orange. Period: Ming. Diameter: 38 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: Acquired by the present owner’s father, Director and Consul General Sven Göthberg. He was employed by the Swedish Match Company and active in India during 1941 to 1966. For condition reports visit: www.uppsalaauktion.se

1070

1071

1070. A set of four ceramic plaques Period: Late Qing/20th century. Measurement: 37 x 25 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 / Provenance: Einar Ödman, founder of the Limmared glass museum. Probably acquired in the 1960´s or 1970´s.

1071. Two porcelain plaques Period: 20th century. With signature Wan Yunyan (?-1952). Measurement: 24,5 x 38 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Einar Ödman, founder of the Limmared glass museum. Probably acquired in the 1960´s or 1970´s.

1072. A carved Longquan celadon barbed-rim dish The stoutly potted body with lobed rounded and ribbed sides rising from a short tapered foot to a broad everted barbed rim, carved on the interior with a medallion of lozenge diaper, encircled in the lobed and ribbed cavetto by freely and boldly carved large floral sprays repeated on the exterior sides, the wide barbed rim bearing a geometrical border, applied overall with an olive-green glaze save for an unglazed ring on the base revealing the body. Period: Early Ming. Diameter: 41 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: Acquired by the present owner’s father, Director and Consul General Sven Göthberg. He was employed by the Swedish Match Company and active in India during 1941 to 1966. This type of dish is a good representation of the fine wares that were produced by the Longquan kiln during the early fifteenth century and typically made for export to the Middle Eastern market. The Ottoman sultans particularly appreciated this type of dishes not only because of their attractive robust potting and large size but because it was believed that the glaze colour would change if poisonous food was served on them. Compare with a similarly barbed rim dish in the palace collection of Topkapi Saray Museum, Istanbul, illustrated in Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. 1, London, 1986, pl. 235; and in Ceramic Art of the World, Vol. 13, Liao, Chin and Yuan Dynasties, Tsugio Mikami, The Zauho Press, Shogakukan, Japan, 1981, pl.35, p. 49. Krahl dates this type of Longquan dish with the lozenge design to the late 14th early 15th century. For condition reports visit: www.uppsalaauktion.se

1073. An album comprising twelve sketches Ding Yunpeng (1547‑1628) Luo Han sketches, 12 pages. Ink on paper. Cover measurement 27 x 19 cm, actual sketch measurements 23 x 16 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Axel Lagrelius (1863‑1944). Thence by descent.

1074. Ink and watercolour Eagle and fish. With the signature and sealmark of Gao Qipei (1660‑1734), dated 1728 according to text. Measurements: 121 x 38 cm.

1075. Scroll Parrot on cypress branches. With signature Gao Qipei (1660‑1734), and two seals of the artist. bˇai shòu tú (hundred longevities). Ink and colour on paper. Hanging scroll. Measurements: 130 x 33 cm.

/ 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Claes Bonde, Trolleholm, Swedish envoyé to China and Japan 1921‑1924, thence by descent.

/ 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Gift from Professor Osvald Sirén (1879‑1966) to the present owners father ca 1960, thence by descent. For condition reports visit: www.uppsalaauktion.se

1076. Hanging scroll Ink and colour on silk. Spring dinner under plum trees. With the signature of Yu Zhiding (1647‑1716), and with two seals of the artist, Yè yóu ch˜un yàn, yˇu zh˜ı dˇıng zhì, hanging scroll. Measurements: 119 x 40 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 / Provenance: A German private collection, Hannover, from the 1960´s, to the present owner.

1077. Scroll Ink and colour on paper. Landscape. With Zhai Dakun (1726‑1804) signature and seal marks. Measurements: 128 x 63 cm. / 6.000 - 8.000 / / 2 640 - 850 /

(Scroll in one piece)

1078. Long scroll with painting and calligraphy. With signature Wang Jun (late 19th century). Ink on paper. Measurements: 1100 x 16 cm. / 50.000 - 60.000 / / 2 5.300 - 6.400 / Provenance: Acquired by the present owners father in China in the 1960´s. For condition reports visit: www.uppsalaauktion.se

1079. Hanging scroll Scholars under pavilion in landscape. With the signature of Dai Wenjing (1388‑1462), and with two seals of the artist. Y˜ı b˜ei tàn yì q˜u bù jué x˜ı yáng chén mó mˇa yuˇan bˇı fˇa dài wén jìn. Ink and colour on silk hanging scroll. Measurements: 123 x 44,5 cm.

1080. Scroll Ink and water colour on paper. Drinking scene in landscape, also know as q˜u shuˇı liú shãng (drink from a wine cup on tiny boats which float down along a winding stream). With the signature of Cai Guangfu (1917-), dated 1948. Measurements: 143 x 78 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

/ 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: Acquired by the present owners father in 1955 in Beijing, thence by descent.

1081. Scroll Ink and watercolour on paper. Da mo. With the signature of Qi Baishi (1864‑1957), and with one seal of the artist, zhˇı lüˇ x˜ı gu˜ı. Measurements: 87 x 55,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: from the collections of Anders Hellström (1877‑1940), thence by descent. Anders Hellström was a keen collector of Chinese paintings, bronzes and ceramics. He was a member of the illustrious society ”The China Club” during the 1930´s. A large part of his collection was donated to the Museum of Far Eastern Antiquities, Stockholm, after he died in 1940.

1082. Hanging scroll Ink and watercolour on paper. Ducks and reed. With the signature of Qi Baishi (1864‑1957) and a seal of the artist, rén sh˜en d˜ong mò zuò yú jiù d˜u, qí huáng bái shí sh˜an w˜eng. Measurements: 117 x 50 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: from the collections of Anders Hellström (1877‑1940), thence by descent. Anders Hellström was a keen collector of Chinese paintings, bronzes and ceramics. He was a member of the illustrious society ”The China Club” during the 1930´s. A large part of his collection was donated to the Museum of Far Eastern Antiquities, Stockholm, after he died in 1940. For condition reports visit: www.uppsalaauktion.se

1083

1083. A Chinese porcelain plaque and wood stand The square plaque painted en grisaille and in soft colours with a mountainous landscape, bordered by pine and other trees, small houses nestled in the landscape, a small figure standing on a terrace overlooking the river, above lines of calligraphy and red seal marks, dated 1933, set within a carved hardwood stand. Measurements: 37 cm x 24,5 cm (plaque) with stand height: 62 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / 屯溪贾振泰出品 tún x˜ı j˜ıazhèntài ch˜upˇın Jiazhentai was a porcelain workshop located in Anhui province during the republic period. It was destroyed 1939 during the war.

1084

1084. A blue and white porcelain plaque Period: 17th century. Measurements: 23,5 x 24 cm without frame. / 8.000 - 10.000 / / 2 850 - 1.100 /

1085. A good blue and white plaque framed in a carved wood stand. An old man approaches two workers in a rice field, three women look on from inside a hut, in front of the hut a hen and chicks pecking at the ground, surrounded in a wood stand intricately carved with auspicious emblems of bats and twin fish on tasselled background. Period: 19th century. Height: 56,5 cm, porcelain plaque: 25 x 25 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / For condition reports visit: www.uppsalaauktion.se

1086

1086. A Chinese blue and white phoenix jar Period: Kangxi. Height: 24 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: Brian Dawson who lived in Shanghai 1922‑1935 and worked for the Swedish company SKF, thence by descent.

1087

1087. A kraak blue and white charger Of round form with foliate rim, the center painted with a basket of flowers within a starshaped cartouche, the cavetto with eight cartouches containing double gourd vases, scrolls and fruit and blossoms, the back with eight scetchy cartouches. Period: Wanli. Diameter: 35 cm. / 6.000 - 8.000 / / 2 640 - 850 /

From the collection of Karl Wilhelm Gerdhem (1868-1932) Lots 1088â&#x20AC;&#x2030;-â&#x20AC;&#x2030;1099

Karl Wilhelm Gerdhem was a Swedish engineer and one of the pioneers in the early days of the worldwide telephone networks expansion. It took him around the world from Stockholm to Moscow onto Mexico City and Argentina and then in 1915 to China. He lived in Peking and it was at this time he assembled a collection of Chinese porcelain which he brought back to Sweden. They have since remained in the family.

For condition reports visit: www.uppsalaauktion.se

1088

1088. A Chinese blue and white brushpot Of round and slightly waisted form with a gently flaring rim and moulded foot, decorated in shades of underglaze blue with small boys engaged in various games in a rocky landscape. Period: Kangxi. Height: 14 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

1089

1089. A Chinese blue and white beaker vase Of cylindrical form with a flared mouth and foot, energetically painted in vivid tones of cobalt with scattered sprays including lotus, peony, bamboo and pomegranate, all above a band of lotus scrolls and pendant plantain leaves skirting the foot. Period: Transitional. Height: 21,5 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

1090

1090. A ”Three Friends” of Winter Bowl The deep rounded sides rising from a short straight foot, decorated on the exterior in shades of underglaze blue with the three friends of winter, pine, prunus and bamboo, set between double circular lines around the rim and the foot. Period: Daoguang mark and period. Diameter: 13,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent. 1091

1091. A ”Three Friends” of Winter Bowl The bowl is decorated to the exterior with the Three Friends of Winter, Sui han san you, bamboo, pine and prunus, growing from rocks beside lingzhi sprigs. The interior is painted with a central roundel, the base with a sealmark of Daoguang. Period: Daoguang mark and period. Diameter: 13,5 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent. For condition reports visit: www.uppsalaauktion.se

1092

1092. A plate with incised dragons Period: Chenghua mark, late Qing. Diameter: 21 cm. / 2.000 - 3.000 / / 2 210 - 320 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

1093

1093. An Inside-Painted Glass Snuff Bottle The rounded body painted with fish swimming above aquatic plants, the oval stopper red. Signed Tang Zichuan. Period: early 20th century. Height: 8 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

1094. A coral-red reverse decorated ‘floral’ bowl The finely and deeply potted bowl resting on a short straight foot to a gently flared rim, the exterior reverse-decorated in a rich iron-red enamel with a continuous scroll of peony heads alternating with lotus dividing hibiscus and linked by curling tendrils reserved in white against the opaque coral ground and with the outlines of the leaves and petals pencilled in iron-red, the interior left undecorated, the recessed white base inscribed with a square seal mark of Qianlong in underglaze blue. Period: Qianlong mark. Diameter: 13 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent. This meticulous pattern with its lace-like effect, which plays on the sharp contrast between the iron-red enamel and the white porcelain, was one of the many imaginative inventions of the Yongzheng period and perpetuated through the subsequent Qing emperor’s reigns. The iron-red enamel, which adheres in a thin, opaque layer, allows for razor-sharp lines, which cannot be achieved with other enamels, which are thicker and glassier. This effect was here fully utilised, giving this ‘negative’ reverse design a delicacy rarely achieved with ‘positive’ painting on a white ground. The Yongzheng prototype of the design included additional butterflies. During the Qianlong period, this decoration was turned into a simplified floral scroll pattern without butterflies, and used on the outside of the bowls. As such, the pattern continued throughout the 19th century. Compare an almost identical bowl from the Percival David Foundation, museum no. PDF,B.709, with a Daoguang mark, another from the Percival David Foundation illustrated in ‘Oriental Ceramics, The World’s Great Collections’, Kodansha Series, volume 6, plate, 94, another is published in Geng Baochang, Ming qing ciqi jianding, Hong Kong, 1993, pl. 483; and a third in the Baerwald collection, included in the exhibition Ausstellung Chinesischer Kunst, Gesellschaft fur Ostasiatische Kunst, Berlin, 1929, cat. No. 1034 and three bowls in the Ohlmer collection in the Roemer Museum, Hildesheim, illustrated in Ulrich Wiesner, Chinesisches Porzellan, Cologne, 1981, pls 30 32. For condition reports visit: www.uppsalaauktion.se

1095

1095. A Chinese Famille Rose Bowl The deep rounded sides rising from a short foot to a very slightly flared rim, painted in soft famille rose colours and decorated around the exterior sides with a figurative scene set in a terraced garden of a lady and her attendants facing two scholars and looking up and pointing towards the sun/moon in the sky, the scene dotted with stylised rock work and pine, the interior of the bowl painted with a single scholar standing in a terraced garden pointing towards the immortal He Xiangu appearing above him amidst clouds in the sky, the glazed base inscribed with a square Qianlong mark in red but later. Period: Republic. Diameter: 26 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent. 1096

1096. A carved circular jade plaque Of round form, carved and reticulated with circular bands carved in low relief with ruyiheads and small knobs, set with a central circular open-work panel enclosing a lotus symbol, the stone of a pale colour. Diameter: 5,3 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

1097. An oval ”narcissus bowl” form bronze censer With ”kuei” dragon handles, on four ruyi-shaped incised feet, the body plain and of warm honey tone, the base with a Xuande square seal mark. Period: 17th/18th century. Length: 22 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent. This elegant censer with ”kuei” dragon handles should perhaps be classified as a bulb-bowl. It may have been multi functional.

For condition reports visit: www.uppsalaauktion.se

1098

1098. A Chinese ‘Peking glass’ overlay bottle vase Of bottle shape with a rounded body, slender neck and raised on a ring foot, decorated with the glass carved in two layers and cut from a deep red colour over a light ground, the cut decoration with a figurative scene, the base incised with a four-character mark of Qianlong. Period: 19th/20th century. Height: 23,5 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

1099

1099. An embroidered silk robe Period: early 20th century. Length: 107 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

1100. A fine Chinese blue and white garlic neck bottle vase. Of globular form with tall tapering neck interrupted by a bulb, below the flaring mouth-rim, and supported on short straight foot, painted around the exterior in rich cobalt blue tones with a robed official standing in a fenced garden together with his attendants, a young attendant approaching holding a vase with three halberds representing the Chinese rebus ‘pingsheng sanji’, meaning ‘may you rise three ranks at a time’, the scene is divided by rockwork, swirling mist, around the shoulder a continuous band of flowerheads with long leaves on either side, set within double blue lines, the tall neck, with two bands, the lower painted with stylised izniklike tulips, and the upper with smaller iznik-like tulips separated by the bulb, painted with scrolling lotus, the base glazed. Period: Chongzhen. Height: 38 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / For two more examples of this type of bottle, given by Sir A.W. Franks, see Ming Ceramics in the British Museum by Jessica Harrison-Hall, published 2001 by the British Museum press, no 12:80‑12:81, as well as an example of what is believed to be the prototype of this particular shape, Harrison-Hall shows an Iznik bottle dating to ca 1560- 1580, see no 12:80, 12:81, fig 1. Quote Harrison-Hall: “Tulips were introduced to Holland from Turkey via Vienna between 1573 and 1587. However, between 1634 and 1637 speculative prices for tulip bulbs ran so high that a rare variety could fetch a fortune in florins. About this time the tulip begins to appear as a decorative motif on both Delft and Chinese porcelains.” For condition reports visit: www.uppsalaauktion.se

1101

1101. A large Chinese blue and white charger Of round form with a flattened rim, decorated on the shallow bowl with a domestic scene of a lady and attendant beneath a willow tree, the scene framed by a complex border on the rim. Period: 18th century. Diameter: 54 cm. / 25.000 - 30.000 / / 2 2.700 - 3.200 / 1102

1102. A Chinese blue and white bowl Of round form and foliate rim, decorated on the exterior with ladies holding lotus stems amidst scattered floral sprays and auspicious objects all above a band of raised moulded petal shaped panels each painted with a lotus flower, the interior with a central roundel decorated with a single lady holding lotus stems, the glazed base inscribed in underglaze blue with a six-character mark of Chenghua inside double circular lines. Period: Kangxi. Diameter: 20,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

From the collection of Carl Fredrik Erikson (1878-1943) Lots 1103â&#x20AC;&#x2030;-â&#x20AC;&#x2030;1108

C.F. Erikson was employed by the Swedish mining and drilling company Svenska Diamantborrnings AB and was sent to work around the world and 1914-1917 he lived in China. The objects from his collection included in this sale were acquired at the time. They have since remained in the family.

For condition reports visit: www.uppsalaauktion.se

1103

1103. A Chinese blue and white ‘lotus’ dish Of round form, the shallow bowl decorated with a central roundel painted in shades of underglaze blue with a large lotus and scrolling foliage, a further five large lotus blooms and scrolling foliage surrounding the central roundel, the exterior sides painted with four bats, the glazed base with a six character mark of Guangxu in underglaze blue and of the period. Period: Guangxu. Diameter: 19,5 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China during the 1910’s.

1104

1104. A Chinese blue and white bowl Of round form, the steep, rounded sides rising from a short straight foot, decorated on the exterior with ribboned auspicious objects amidst scrolling peony branches set in between a border of ruyi-heads around the rim and a band of lappets above the foot, the base with the seal mark of Jiaqing. Period: 19th century, mark of Jiaqing 1796‑1820. Diameter: 17 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China during the 1910’s.

1105. A Rare Pair Dated Blue and White Bowls Of rounded form rising from a straight foot to a flaring rim, each painted on the exterior with four rosette medallions within a ruyi-petal border each encircling one of the characters Shangao shuichang (high mountains and long rivers), reserved on a ground of lotus scrolls and the bajixiang (’Eight Buddhist Emblems’): wheel, conch-shell, umbrella, canopy, lotus flower, vase, pair of fishes and mystic knot, all between a band of petal panels encircling the foot and a frieze of pendent ruyi collaring the rim, the interior centred with a shou medallion below pendent ruyi at the rim. The base with the four character mark bingwu year of Qianlong which is 1786 CE. Period: Qianlong, dated 1786. Diameter: 12,5 cm. / 50.000 - 60.000 / / 2 5.300 - 6.400 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China during the 1910’s. The bingwu year corresponds to the 51st year of Qialongs reign, 1786. He had ruled for 50 years, half a century. A memorable year and these bowls together with the similar bowls but with the characters wan shou wu jiang were made to commemorate this event. For another close example of this decoration and with the same mark dated 1786 with same medallions and dated to Qianlong period see the Shanghai museum. See also V&A for a bowl with the same ground design but the exterior with four roundels enclosing the characters wan shou wu jiang, ’boundless longevity’. Given by R. Clarke Edwards C.283‑1918 T. For condition reports visit: www.uppsalaauktion.se

1106

1106. A coral-red reverse decorated ‘floral’ bowl The finely and deeply potted bowl resting on a short straight foot to a gently flared rim, the exterior reverse-decorated in a rich iron-red enamel with a continuous scroll of peony heads alternating with lotus dividing hibiscus and linked by curling tendrils reserved in white against the opaque coral ground and with the outlines of the leaves and petals pencilled in iron-red, the interior left undecorated, the recessed white base with a Daoguang sealmark. Period: Mark of Daoguang. Diameter: 13 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China during the 1910’s. This meticulous pattern with its lace-like effect, which plays on the sharp contrast between the iron-red enamel and the white porcelain, was one of the many imaginative inventions of the Yongzheng period and perpetuated through the subsequent Qing emperor’s reigns. The iron-red enamel, which adheres in a thin, opaque layer, allows for razor-sharp lines, which cannot be achieved with other enamels, which are thicker and glassier. This effect was here fully utilised, giving this ‘negative’ reverse design a delicacy rarely achieved with ‘positive’ painting on a white ground. The Yongzheng prototype of the design included additional butterflies. During the Qianlong period, this decoration was turned into a simplified floral scroll pattern without butterflies, and used on the outside of the bowls. As such, the pattern continued throughout the 19th century. Compare an almost identical bowl from the Percival David Foundation, museum no. PDF,B.709, also with a Daoguang mark, another from the Percival David Foundation illustrated in ‘Oriental Ceramics, The World’s Great Collections’, Kodansha Series, volume 6, plate, 94, another is published in Geng Baochang, Ming qing ciqi jianding, Hong Kong, 1993, pl. 483; and a third in the Baerwald collection, included in the exhibition Ausstellung Chinesischer Kunst, Gesellschaft fur Ostasiatische Kunst, Berlin, 1929, cat. No. 1034 and three bowls in the Ohlmer collection in the Roemer Museum, Hildesheim, illustrated in Ulrich Wiesner, Chinesisches Porzellan, Cologne, 1981, pls 30 32.

1107

1107. A Chinese blue and white ‘dragon’ bowl With deep rounded sides and a slightly everted rim, supported on a narrow footring, painted around the exterior with two dragons striding amongst flames in pursuit of a ’flaming pearl’, above crested waves interspersed with rocks and between single or double line borders encircling the rim and foot, the base inscribed in underglaze blue with a six-character mark and period of Guangxu. Period: mark and period of Guangxu. Diameter: 11,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China during the 1910’s.

1108. A large blue and white vase Hu The robustly potted vessel finely painted around the bulbous lower section with large peony blooms borne on leafy meandering scrolls with smaller blooms and set between a band of pendant ruyi heads at the shoulder and turbulent waves at the base, the broad shoulders luted to the body with a subtle indentation sweeping up to the flaring neck flanked by a pair of tubular lug handles, the wave band further repeated around the shoulders, mouth and flaring foot, with two further registers of lotus flowers each containing scrolling foliate vines punctuated by large blooms around the neck enclosing a band of roundels, the flaring neck with stiff upright leaf decoration, the handles with four bands of flowers. Period: Qianlong seal mark, 19th century. Height: 58 cm. / 40.000 - 50.000 / / 2 4.300 - 5.300 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China during the 1910’s. The shape of this vase originates in earlier metal proto-types, while the direct inspiration for both the shape and decoration came to the Qing court through imperial porcelains of the Ming dynasty Xuande reign (1426‑35). This inspiration is confirmed by archives for the third year of the Qianlong reign (1738), which record an instruction sent to the imperial kilns at Jingdezhen requesting vases like those of the Xuande period with straight necks and cylindrical handles, but make them larger. See the collection of the Palace Museum, Beijing illustrated in, The Complete Collection of Treasures of the Palace Museum - 36 - Blue and White Porcelain with Underglaze Red III, Hong Kong, 2000, pp. 144‑5, nos. 130‑1 for a variation on the style of this vase with tubular handles. For condition reports visit: www.uppsalaauktion.se

1109. A fine Chinese blue and white ‘immortals’ bowl Delicately potted with deep rounded sides rising from a short foot, decorated around the exterior in shades of underglaze blue with a continuous scene set in a garden depicting the eight immortals each with their attributes and Shoulao holding his ruyi-sceptre, a white deer hides amongst the trees, and a white crane flies above, the interior with a large roundel painted with a watery landscape of a figure dressed in long robes holding peaches in his hand underneath a gnarled pine tree, around the interior rim a band of pine tree branches, the base decorated with a six-character mark reading Ying de xuan bog u zhi (Made in the antique style for the pavilion of moral obligation) painted in underglaze blue inside double circular line. Period: Kangxi, early in the period. Diameter: 21 cm. / 20.000 - 25.000 / / 2 2.100 - 2.700 /

1110. A Chinese scroll With signature Wang Wu 王武. Watercolour and ink on silk. Measurements: 227 x 110 cm. / 50.000 - 60.000 / / 2 5.300 - 6.400 / For condition reports visit: www.uppsalaauktion.se

1111

1111. A Chinese bronze kylin censer Cast standing with one of its clawed paws raised to the side, its bushy tail held in the air and the maned head modelled with its characteristically fearsome mien of bared teeth and bulging eyes. Period: 18th century. Length: 34 cm, Height: 36 cm. / 4.000 - 5.000 / / 2 430 - 530 /

1112

1112. A bronze figure of a Kylin. Modelled seated on its hind legs, holding its body up with one of its front legs and the other front leg held aloft in front of the head that is turned to the side, prominent claws on each paw, the body carved and modelled with the markings of the fur, the ribs and the backbone, and decorated with swirling lines on the legs, the fearsome head with open jaws revealing the sharp teeth below protruding eyes and bushy eyebrows, a tasselled bell around its neck, and with a prominent bushy tail also held aloft. Period: Late Ming / early Qing. Length: 59 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: Formerly in the collections of Ph.D. Emil Hultmark (1872‑1943).

1113

1113. A Ming ridge tile figure The earthenware ridge tile modelled as a striding horned demon, his face in fearsome mien, covered in a yellow, green and black glaze, striding across the convex ridge tile. Height: 44 cm. / 6.000 - 8.000 / / 2 640 - 850 /

1115. An inscribed scholar’s desk object Finely carved as a monk meditating in a temple beneath a overhanging pine tree under the bright full moon circled by poetic clouds, on the back side incised with an inscription reading: shi chan he lan cai ke zuo yan qu yan zhu yuan yue xing wei xian xiao xuan lin ya chang song yi jian yan chen guan kong pu tuan yi mian ru ding jia fu zhi ren bu juan. Incised with sculptor’s name in a square, Yu An, also known as Ai Xin Jue Luo. Zhi Rui (1852‑1911), scholar and general during Guangxu period. Helan stone sculpture, dated Guangxu thirty-three years, 1907. Height: 19 cm.

1114

1114. A Ming ridge tile figure The earthenware ridge tile modelled as a striding demon, his face in fearsome mien, covered in a yellow, green and black glaze, striding across the convex ridge tile. Period: Ming. Height: 42 cm. / 5.000 - 6.000 / / 2 530 - 640 /

1115

/ 5.000 - 6.000 / / 2 530 - 640 / 石產賀蘭材可琢研鸜眼珠圓月形為見小軒臨崖長松倚澗宴塵觀空蒲團一面入定跏趺至人不倦持節銀夏防兵有工琢石者作此為几案清供光緒三十三年迂安銘 For condition reports visit: www.uppsalaauktion.se

1117

1116

1116. A Chinese monochrome tripod censer Of bombe form, the bowl flanked by moulded animal mask handles and supported on short straight tripod legs, covered in a greenish glaze thinning to a mushroom brown at the rims and handles, the interior unglazed, the base with an incised leaf mark. Period: 19th century. Diameter: 30 cm. / 5.000 - 6.000 / / 2 530 - 640 / 1118

1117. An incised yellow-glazed ‘dragon’ bottle vase Of pear shape, with a compressed globular body rising from a short foot to a slender tubular neck, incised around the exterior with a large scaly fourclawed dragon in pursuit of a flaming pearl, the body writhing around the vessel amidst ruyi-head cloud scrolls, all reserved on a ground of rich yellow glaze. The base with a six character Xuande mark. Height: 12,5 cm. / 4.000 - 5.000 / / 2 430 - 530 / 1118. A Chinese ‘oil-spot’ vase, meiping. The vase is potted with high, rounded shoulder below a short, waisted neck and tapers elegantly towards the slightly flared foot, it is covered in a lustrous dark red or brownish glaze suffused with silvery black ‘oil spots’, the glaze finishing just above the foot to reveal the unglazed foot ring and base. Period: 18th / 19th century. Height: 20.5 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: Wladimir Semcesen (1906‑1969), Oslo. Acquired in the 1950´s and 1960´s, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1119. A peachbloom-glazed amphora and a bottle vase. The slender baluster body rising from a recessed base to an elegant tall neck with flaring rim, covered overall with a peachbloom glaze mottled with green specks, inscribed to the base with a six-character Kangxi mark in blue, and a bottle vase also covered in a peachbloom glaze. Period: Early 20th century. Height: 13 cm and 16 cm.

1119

/ 3.000 - 4.000 / / 2 320 - 430 / Provenance: Present owners parents lived in Beijing 1956‑1959, where the father was a diplomat, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1120

1120. A peachbloom-glazed beehive water pot The rounded sides rise to a short, slightly flaring neck, covered in a glaze of even, crushed strawberry tone, the rim, interior and base are covered in a transparent glaze. Period: Probably 19th century. Height: 8,5 cm. / 5.000 - 6.000 / / 2 530 - 640 / For condition reports visit: www.uppsalaauktion.se

1121. A Massive Blue and White Rouleau vase Of round form with gently curving shoulder, the body decorated with a panel on one side with men and boys conversing on a terraced landscape mountains towering in the distance, the other side with a panel depicting a man kneeling before a lady accompanied by four attendants on a terrace, another maiden looks on, divided by four leaf shape cartouches, between a band of pendant ruyi heads at the shoulder and lappets at the foot, the shoulder with further cartouches all on a honeycomb background. Period: Qianlong. Height: 82 cm. / 6.000 - 8.000 / / 2 640 - 850 /

1122. A Chinese four-piece silver tea set Marked Shanghai Luen Wo 厚祥 Canton, around 1900. Comprising a teapot with rechaud, a hot water pot, a milk jug and a sugar bowl. Richly decorated with blossoming flowers. Height: 7,5 cm ‑ 25,5 cm. Weight: ca. 2200 grams. / 15.000 - 20.000 / / 2 1.600 - 2.100 /

For condition reports visit: www.uppsalaauktion.se

1123

1124

1123. A pair of armorial dishes of saucer shape Of saucer form, with a central European coat of arms, surrounded by an inscription, the border with prunus, lotus and grapes. Period: Qianlong. Diameter: 25,5 cm. / 4.000 - 5.000 / / 2 430 - 530 /

1124. A celadon-ground underglaze blue vase Of pear-shape, the bulbous body rising from a short slightly splayed foot to a foliate moulded collar around the waisted neck flanked by archaistic dragon handles below the trumpet mouth, decorated around the body with a broad frieze painted in shades of underglaze blue with cartouches depicting figurative landscapes set on a ground of cloud scrolls and bats and framed between bands of light crackle glaze finished by a line in café-au-lait glaze and reserved against the celadon body, the moulded foliate neck also decorated in shades of underglaze blue with two bands of ruyi-heads and key-pattern below the celadon-glaze and with a line of café-au-lait glaze around the rim of the mouth, the base glazed in white. Period: 19th century. Height: 39 cm. / 6.000 - 8.000 / / 2 640 - 850 /

1125. A pair of Chinese blue and white Nankin vases and covers. Of flattened baluster form, with flaring necks and slightly everted foot rims, the necks flanked by archaistic chilong handles, each with a domed cover with large kylin finials, painted in shades of underglaze blue with large moulded panels on the bodies decorated with landscapes and further smaller panels above also with landscapes, all surrounded by scattered flower sprays and reserved on ‘chicken-skin’-style grounds, the covers similarly decorated. Period: Qianlong. Height: 45 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / For condition reports visit: www.uppsalaauktion.se

1126

1127

1126. A Chinese blue and white censer Of bombé form, the exterior brightly painted in shades of cobalt blue with a river landscape of tree-lined rocky islets, buildings and figures scattered throughout the scene, all below a band of stylised cloud scrolls, the glazed base with double circular lines in underglaze blue. Period: 18th century. Diameter: 24 cm. / 3.000 - 4.000 / / 2 320 - 430 /

1127. A Chinese blue and white ‘yen yen’ vase. The body of baluster form rising to a trumpet neck with everted rim, painted in shades of underglaze blue and decorated with figurative scenes of dignitaries, ladies and warriors on horseback. Period: Kangxi. Height: 46 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

1128. A pair of Urn Shaped Vases On square bases with pistol handles and slightly domed covers, the stippled ground brightly enamelled in blue and famille rose with two raised roundels of flowers surrounded by a garland of flowers, further decorated with raised garlands of fruits enamelled in brown framing the roundels, the sides of the urns with sprays of flowers, the bases with a border of key fret, the slim stem with a gold pattern above a pendant leaf design, the shoulders with a continuous spray of flowering branches. Period: Qianlong. Height: 35,5 cm. / 60.000 - 80.000 / / 2 6.400 - 8.500 / See Porcelain of the East India Company by Michel Beuderley, page 198 cat 206 for a similar urn where Beuderley states this shape was after a Marieberg model inspired by a Swedish silver shape. See also China for the West by Howard and Ayers page 557, p. 575 where he states that this particular shape derives from a design created in the late sixteenth century by Stefano della bella who worked for Ferdnand de Medici that in turn inspired Wedgwood in England. It also, according to the authors, inspired Marieberg in Sweden. Both authors were correct and these urn shaped vases were ordered by Sweden, Portugal and England. For condition reports visit: www.uppsalaauktion.se

1129

1129. A collection of four famille rose dishes Three of rectangular canted section and one of round octagonal section, decorated with peacocks and peahens. Period: Qianlong. Rectangular dishes length: 28 cm, 33 cm and 43 cm; octangonal dish’s diameter: 29,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

1130

1130. A Chinese famille rose export armorial sauce tureen and cover of oblong octagonal form, with boar’s-head handles and branch finial, painted in famille rose enamels, with the tureen decorated on either side with a small group of colourful, long-tailed birds all set below a latticed fence from which behind flowers bloom and which opens up to reveal a crest featuring a double-headed bird with its wings spread, the cover similarly decorated with the crest alternating with the group of birds. Period: 18th century. Length: 18 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

1131

1131. A Set of Six Chinese famille verte ’Dragon’ dishes Modelled with shallow sides and flaring rim, painted to the centre with three five-clawed dragons chasing flaming pearls between cloud scrolls, the reverse with two further dragons chasing pearls. Period: Jiaqing iron-red seal mark. Diameter: 24,5 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: A Swedish private collection. For an almost identical example see Oriental Ceramics Society, The Arts of the Ch’ing Dynasty, 1964, no. 191, plate 69.

1132. A Chinese polychrome tureen, cover and stand Decorated on the tureen, the cover and the stand with green writhing and scaly dragons chasing the flaming pearl amidst cloud scrolls and flames. Period: Daoguang. Length: 41,5 cm (stand), 37 cm (tureen with cover).

1132

/ 25.000 - 30.000 / / 2 2.700 - 3.200 / Provenance: by repute a gift from King Oscar II to James Keiller, Särö around 1900. For condition reports visit: www.uppsalaauktion.se

1133

1133. A Chinese ‘wucai’ gu-form beaker vase Painted around the flared neck in underglaze blue and overglaze enamels with a court scene of a lady and her atttendants entertaining her with music and precious gifts, the scene divided by swirling clouds, all above a band of different floral sprigs around the slightly moulded middle section, with boldly painted branches of pomegranate around the splayed foot and a floral garland painted around the interior rim of the mouth. Period: Shunzi. Height: 54.5 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 /

1134

1134. A famille verte bottle vase Of inverted baluster shape, with a short slender and slightly everted neck, decorated around the body with variously shaped panels painted with landscapes and floral motifs, on a ground of scattered flowers, the base with a six character mark of Kangxi in underglaze blue. Period: 19th century. Height: 26 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

1135

1135. A set of three famille verte piecrust dishes Of rectangular octagonal shape with piecrust edges, each decorated in bright famille verte colours and painted with a scene of two ladies standing on a terrace looking out over a lotus pond, one of the ladies holding lotus stems in her hands, the scene framed by peonies and foliage interspersed by four small cartouches painted with butterflies on the flattened rims, and with single sprays of flowers on the exterior rims. Period: Kangxi. Length: 31,5 cm, 39 cm and 40 cm. / 50.000 - 60.000 / / 2 5.300 - 6.400 / 1136

1136. A set of nineteen tea cups and saucers Decorated in famille rose with scattered flowers. Period: Qianlong. Diameter: 9 cm (cup), Diameter: 13,5 cm (saucer). Three extra saucers included. / 10.000 - 15.000 / / 2 1.100 - 1.600 / For condition reports visit: www.uppsalaauktion.se

1137

1137. A collection of three famille rose plates Of round form with foliate rims, decorated in famille rose enamels with budding and blossoming roses together with further floral sprays, pomegranates, scrolls and finely painted insects. Period: Qianlong. Diameter: 23 cm. / 4.000 - 5.000 / / 2 430 - 530 /

1138

1138. Six famille rose ”double peacock” pattern plates Of round form with foliate edges, each enamelled and gilt at the centre with a peacock and peahen perched on rockwork beside a large peonyblossom amongst various flowering branches. Period: Qianlong. Diameter: 23 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

100

1139. A Chinese famille rose export ‘Valentine’ pattern punch bowl Painted on the exterior with two large panels on either side of the bowl, each panel decorated with various emblems of love beneath a garland-draped breadfruit tree, including two kissing doves, sided by two flaming hearts on the altar of love, a pair of dogs – signifying fidelity, Cupid’s bow and a quiver of arrows, a pair of spears with a corded bag, all within borders of underglaze blue flowers, stylised birds and dragons and divided by flower sprays and two round cartouches painted with scenes of Europeans in landscapes. Period: Qianlong. Diameter: 28 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / For objects with this pattern see: Beurdeley 1962, cat 109, a mug; Forbes 1982, no 73, tureen and stand, lacking cover; Hervoüet and Bruneau 1986, No 7.118, a plate, 7.119 a saucer with a monogrammed version that includes buildings; Howard and Ayers 1978, p205, No 204, a dish with Valentine rim cartouches; p364, No 355 a teabowl and saucer; Krahl and Harrison - Hall 1994, Nos 100, 102; Scheurleer 1974, pl 295, bowl and saucer, Wirgin 1998, p189, a beaker. The ”Valentine” Pattern is dedicated to love and was originally given to Commodore George Anson on his circumnavigation of the world in 1743 – one of the most arduous voyages in the history of sea adventures. Begun in 1740, its original purpose was to attack Spanish possessions in South America during the war of Jenkins’ Ear. The mission failed, losing both ships and crew – the crew even mutinying off the west coast of Chili (1741). Anson eventually collected all that remained onto his ship Centurion, and with perseverance, continued westward across the Pacific. Excessive scurvy and ship leakages forced a refuge on the small island of Tinian, near Saipan (1742). There his crews found (and brought back) the nourishing breadfruit, of later fame in the Bounty’s mutiny. Continuing the westward journey, in 1743, he harbored at Canton, where he and his men were instrumental in saving Canton from a fire which would otherwise have destroyed the entire city. In recognition, a porcelain service – known as “Valentine Pattern” - was commissioned for Anson, depicting items drawn from the sketches of his resident artist on that voyage. For condition reports visit: www.uppsalaauktion.se

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1140. An Impressive Large Silk Embroidered ”Immortals” Panel Brightly embroidered with a central figure of Shoulao holding a staff from which hangs a double gourd, a spotted deer grasping the ”sacred fungus’ by his side, an attendant boy holds up a tray of peaches, behind him stands the immortal Magu, bordered by scenes of people engaged in various pursuits, including playing weiqi and calligraphy, the whole bordered by brightly coloured blossoms. At the head a frontal facing dragon, between two phoenix and at the base playful kylins. The whole of this textile covered with symbols of happiness and shou characters. Period: 19th century. Measurements: 430 x 280 cm. / 150.000 - 200.000 / / 2 16.000 - 21.000 / Provenance: From a private Swedish collection, by repute formerly at Stora Sundby manor, Södermanland . Exhibitions: ”Mittens Rike”, Borås konstmuseum, 1985, illustrated in catalogue p. 204, nr 785A, there dated to Daoguang and ”Den blå draken”, Röhsska Museet in Gothenburg, 1995. Compare two related red-ground hangings, one dated to 1750 and the other to 1849, illustrated by R. D. Jacobsen, Imperial Silks: Ch’ing Dynasty Textiles in The Minneapolis Institute of Arts, Vol. II, Minneapolis, 2000, pp. 978‑981, nos. 485 and 486. Large and sumptuous hangings such as the present lot were made to commemorate important family occasions such as major birthdays, anniversaries or contributions to public service, the eyecatching red and gold display providing the focal point for the festivities. The hangings would have symbols for happiness and wealth and include both Daoist and Buddhist references to long life. Here the Daoist immortal Magu is shown with Shoulao and peaches, and a myriad other symbols for happiness, wealth and longevity.

Translation of paper on the textile from textile historian Marianne Erikson: A Chinese Embroidery In connection with an older, wealthy persons birthdays big embroideries were hanged on the walls in Chinese homes. Apart from the decoration aspects, they also contained many greetings about a long life.Also in connection with celebrating Weddings and New Year this habit was common. The bottom of the embroidery has to be done in red - the colour of happiness, the embroidery is made in silk and in gold thread. The main figures is Lao Shouxing, the god for a long life and Ma Go; who according to the legend gives immortality mushrooms and wine to the goddess of heaven, Xi Wang Mo, on her birthday. The boy standing next holds a a bowl with peaches, the symbol of a long life and immortality. The deer carries ling zhi - the long life mushroom in the mouth. The dresses of the grown ups are in pattern with the sign shou - long life. The scenery around the middle field maybe tells about the civil servant’s career. Possibly he is from a Noble family, because of the dragon in the top section has four claws , lotus flowers, tree piones and magnolia ”climbing” up along the borders together with different birds - e.g. fenix birds and cranes = long life. Ducks and butterflies often symbolises marriage happiness, whilst bats stands for long life. By the bottom Fo-dogs are playing, companions of the Buddhas, with the coloured/decorated balls. This Embroidery belongs to a private person, Röhsska Museum has a somewhat older embroidery of the same character with The eight immortals, exhibited in the Study room. Seal: Long Zhang Feng Gao (dragon) (fenix)

imperial seal

Flag: San Xi (province)

Wang Fu (count or govenor)

Feng Yang (district)

Lao Shouxing has a walking stick in lu-shape/deer-long life, good career. At the top the civil servant and his wife are celebrated by the family and from the left is illustrated possibly the Emperors court in a carriage, to the left civil servants with the civil servants flag. At the very bottom the civil servant has reached middle age and is enjoying chess and calligraphy.

102

For condition reports visit: www.uppsalaauktion.se

103

1141

1141. A Chinese blue and white vase Of ovoid body tapering to a short neck, decorated in shades of underglaze blue with a continuous scene of a scholar, a dignitary and attendants, all beneath a gnarled pinetree, the base with a four character mark of Kangxi in underglaze blue. Period: 19th century. Height: 21,5 cm. / 4.000 - 5.000 / / 2 430 - 530 /

1142

1142. A monocrome blue-glazed vase, hu. Of archaic bronze form, canted rectangular section, the pear shaped body flanked by tubular handles on the waisted neck, the wide sides with a moulded shaped cartouche, covered overall in a blue glaze thinning at the edges, the base with a label from Chait, New York. Period: 19th century. Height: 29 cm. / 6.000 - 8.000 / / 2 640 - 850 /

104

1143. A Chinese monochrome blue-glazed vase, fang hu. Of archaistic fang hu form, the hexagonal body supported on a pronounced foot, and gently curving at the shoulders to a flared neck and galleried rim, flanked by a pair of moulded archaistic dragon handles, the exterior covered in a rich blue glaze in contrast to the white rim and interior. Period: 18th century. Height: 40,5 cm.

1143

/ 6.000 - 8.000 / / 2 640 - 850 /

1144

1144. A Chinese monochrome blue-glazed vase, fang hu Of archaistic fang hu form, the hexagonal body supported on a pronounced foot, and gently curving at the shoulders to a flared neck and galleried rim, flanked by a pair of moulded archaistic dragon handles, the exterior covered in a rich blue glaze in contrast to the white rim and interior. Period: 18th / 19th century. Height: 37,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / For condition reports visit: www.uppsalaauktion.se

105

1145

1145. A Chinese famille verte vase The inverted baluster body rising to a short flared neck, decorated with a scene of warriors on horseback around the body, the shoulder with panels of crustaceans on a honey comb background, the neck decorated with bamboo, the base glazed with a double blue ring. Period: 19th century. Height: 46 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

1146

1146. A Chinese famille rose vase Of hexagonal section with reticulated sides covered in a brownish glaze and on each side with a panel shaped as a vase and painted in soft famille rose colours with various figurative scenes. Period: Qianlong. Height: 29,5 cm. / 4.000 - 6.000 / / 2 430 - 640 / Literature: Jan Wirgin, Från Kina till Europa, exhibition catalogue Östasiatiska Museet 1998, illustrated p. 106, pl. 110.

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1147. A Chinese blue and white jar and cover Of baluster shape, the bulbous body with a slightly everted foot rising to a short neck and with a domed cover surmounted by a bud finial, later decorated in Europe in iron red and gilding with large flowering branches issuing from stylised rock work divided by bands decorated with coin-pattern and large ruyi-shaped cartouches on the shoulder and around the foot, the cover similarly decorated, the base glaze and painted with a double circular line in underglaze blue. Period: 18th century. Height: 44 cm. / 40.000 - 50.000 / / 2 4.300 - 5.300 / Provenance: by repute King Gustaf VI Adolf, to M.D. Gustaf Lindberg, Norrköping, who both were members of the illustruous ”China club”. The members of the club shared an interest in Chinese antiquities and formed collections of Chinese porcelain, bronzes etc and often exchanged objects among each other. Thence from Dr Lindberg to consul Sjöberg in Norrköping, to the present owner.

For condition reports visit: www.uppsalaauktion.se

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1148

1149

1148. Ningxia An antique Meditation rug. Measurements: 80 x 158 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: acquired by Nils Nessim in China just before the Chinese Revolution, to the present owner in the 1970´s.

1149. A figure Partly glazed. With Pan Yushu’s seal mark. Height: 15 cm. / 5.000 - 6.000 / / 2 530 - 640 / 潘玉书款 Pan Yushu

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From the collection of Felix Tegengren (1884-1980) Lots 1150â&#x20AC;&#x2030;-â&#x20AC;&#x2030;1155

Felix Tegengren was born in Vasa, Finland and came to study to become a geologist. 1914-1917 he worked with professor Johan Gunnar Andersson in China, directly submitted the Chinese government. Tegengren returned a second time to China in 1921 and was hired as a geologist by companies in the mining business. He returned to Sweden in 1928 never to visit China again, although he worked all around the world â&#x20AC;&#x201C; Canada, Brazil, the Soviet Union, Greenland and Mozambique among other countries. The objects included in this sale were acquired during his time in China. They have since remained in the family.

For condition reports visit: www.uppsalaauktion.se

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1150

1150. A pair of Chinese famille rose sgraffiato-ground ‘medallion’ bowls The deep rounded sides supported on short feet, the exteriors with four medallions intricately enamelled with archaic bronzes, scholar’s desk objects, lanterns and vases filled with millet grains and prunus respectively, interspersed with floral sprays, all reserved against a ruby sgrafiatto ground incised with feathery scrolls, the interior decorated in shaded tones of cobalt-blue with an octagonal rosette encircled by four large festival lanterns at the cavetto, the recessed bases inscribed with square seal marks of Qianlong in underglaze blue. Period: Qianlong mark, but later. Diameter: 15 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: Felix Tegengren (1884‑1980). Felix Tegengren was a Swedish geologist who worked in China in 1914‑1917 and in 1922‑1928. Terese Tse Bartholomew has identified the combination of a lantern (denglong) and ears of grain (wugu) as a rebus meaning ’May there be a bumper harvest of the five grains.’ See her Hidden Meanings in Chinese Art (Asian Art Museum of San Francisco, 2006), p. 241, entry 8.16.1. 1151

1151. A Chinese famille rose sgraffiatoground ‘medallion’ bowl The deep rounded sides supported on a short foot, the exteriors with four medallions intricately enamelled with archaic bronzes, scholar’s desk objects, lanterns and vases filled with millet grains and prunus respectively, interspersed with floral sprays, all reserved against a ruby sgrafiatto ground incised with feathery scrolls, the interior decorated in shaded tones of cobalt-blue with an octagonal rosette encircled by four large festival lanterns at the cavetto, the recessed base inscribed with a square seal mark of Qianlong in underglaze blue, but later. Diameter: 14,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Felix Tegengren (1884‑1980). Felix Tegengren was a Swedish geologist who worked in China in 1914‑1917 and in 1922‑1928. Terese Tse Bartholomew has identified the combination of a lantern (denglong) and ears of grain (wugu) as a rebus meaning ’May there be a bumper harvest of the five grains.’ See her Hidden Meanings in Chinese Art (Asian Art Museum of San Francisco, 2006), p. 241, entry 8.16.1.

110

1152. An Archaistic Bronze Ritual Bell, Zhong The body of elliptical section and barrel form with the two sides rising up in an arc, each side set with three rows of three bosses, evenly distributed and placed in the upper quadrants on both sides and divided by bands of smaller bosses the flat front panel with characters, the flat top surmounted by a long tapering collared tubular shank with a lug for suspension, the surface covered overall with light malachite encrustation. Height: 37 cm.

1152

/ 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Felix Tegengren (1884‑1980). Felix Tegengren was a Swedish geologist who worked in China in 1914‑1917 and in 1922‑1928. The zhong first appeared during the Zhou dynasty. Like the nao, the zhong is found in odd-numbered sets of bells of graduated size and pitch. Struck with a long-stemmed T-shaped beater, the bells have excellent musical qualities, such as a clear sound that decays rapidly and a defined and focused pitch. The melodies made by zhong accompanied ritual and entertainment.

1153. A Chinese famille rose ‘lotus’ bowl Of round form, the gently rounded sides rising from a short straight foot to slightly everted rim, decorated around the exterior sides in soft famille rose colours with lotus stems and leaves surrounded by multicoloured scrolling branches all above crashing and foaming waves, the interior boldly painted in shades of dark cobalt underglaze blue with a central floral medallion and lotus scrolls around the walls, a band of key-pattern encircling the foot, the glazed base inscribed with a six-character mark of Xuantong in underglaze blue. Period: Xuantong 1908‑1912. Diameter: 17,5 cm.

1153

/ 6.000 - 8.000 / / 2 640 - 850 / Provenance: Felix Tegengren (1884‑1980). Felix Tegengren was a Swedish geologist who worked in China in 1914‑1917 and in 1922‑1928. For condition reports visit: www.uppsalaauktion.se

111

1154

1155

1154. A coral-red reverse decorated ‘floral’ bowl The finely and deeply potted bowl resting on a short straight foot to a gently flared rim, the exterior reverse-decorated in a rich iron-red enamel with a continuous scroll of peony heads alternating with lotus dividing hibiscus and linked by curling tendrils reserved in white against the opaque coral ground and with the outlines of the leaves and petals pencilled in iron-red, the interior left undecorated, the recessed white base inscribed with a square seal mark of Daoguang in underglaze blue. Period: Daoguang mark. Diameter: 13 cm.

112

1155. A coral-red reverse decorated ‘floral’ bowl The finely and deeply potted bowl resting on a short straight foot to a gently flared rim, the exterior reverse-decorated in a rich iron-red enamel with a continuous scroll of peony heads alternating with lotus dividing hibiscus and linked by curling tendrils reserved in white against the opaque coral ground and with the outlines of the leaves and petals pencilled in iron-red, the interior left undecorated, the recessed white base inscribed with a square seal mark of Daoguang in underglaze blue. Period: Daoguang mark. Diameter: 13 cm.

/ 8.000 - 10.000 / / 2 850 - 1.100 /

Provenance: Felix Tegengren (1884‑1980). Felix Tegengren was a Swedish geologist who worked in China in 1914‑1917 and in 1922‑1928.

This meticulous pattern with its lace-like effect, which plays on the sharp contrast between the iron-red enamel and the white porcelain, was one of the many imaginative inventions of the Yongzheng period and perpetuated through the subsequent Qing emperor’s reigns. The iron-red enamel, which adheres in a thin, opaque layer, allows for razor-sharp lines, which cannot be achieved with other enamels, which are thicker and glassier. This effect was here fully utilised, giving this ‘negative’ reverse design a delicacy rarely achieved with ‘positive’ painting on a white ground. The Yongzheng prototype of the design included additional butterflies. During the Qianlong period, this decoration was turned into a simplified floral scroll pattern without butterflies, and used on the outside of the bowls. As such, the pattern continued throughout the 19th century. Compare an almost identical bowl from the Percival David Foundation, museum no. PDF,B.709, also with a Daoguang mark, another from the Percival David Foundation illustrated in ‘Oriental Ceramics, The World’s Great Collections’, Kodansha Series, volume 6, plate, 94, another is published in Geng Baochang, Ming qing ciqi jianding, Hong Kong, 1993, pl. 483; and a third in the Baerwald collection, included in the exhibition Ausstellung Chinesischer Kunst, Gesellschaft fur Ostasiatische Kunst, Berlin, 1929, cat. No. 1034 and three bowls in the Ohlmer collection in the Roemer Museum, Hildesheim, illustrated in Ulrich Wiesner, Chinesisches Porzellan, Cologne, 1981, pls 30 32.

1156. A Chinese framed painting. Watercolour and ink on silk. Scholars under pavilion in landscape. With signature Zhu Derun (1294‑1365) and a seal of the artist. Inscription reading: zhi zheng er shi er nian ren yin san yue dong wu zhu de run (translation: Zhi Zheng twenty-two years 1362, ren yin, in March by Dong Wu Zhu Derun). Measurements: 118 x 63 cm. Framed. / 15.000 - 20.000 / / 2 1.600 - 2.100 /

For condition reports visit: www.uppsalaauktion.se

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1157

1157. A Pair of Blue-Gound Famille Rose ”Prunus” Bowls and Stands Of round shapes, the deep rounded sides rising from straight short feet, decorated on the exterior sides with budding and blossoming prunus scattered on a dark blue ground of ‘cracked ice’ pattern, the bases painted in the centres with square seal marks in red, Xi Zhu Zhuren zao (Made by the Master of Wind Music). Period: Daoguang. Diameter: 9,5 cm and the stands 8,5 cm. / 8.000 - 12.000 / / 2 850 - 1.300 / Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoyé Constance Lundquist (1891‑1950), thence by descent in the family.

1158

1158. A Ding-type carved ‘floral’ bowl Of round form, the wide sides rising from a short foot ring, covered in a cream-coloured glaze and carved on the interior with a moulded floral decoration, the indented rim with a metal edge. Period: Possibly Song. Diameter: 15 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoyé Constance Lundquist (1891‑1950), thence by descent in the family. Compare a similar bowl of ding –ware and dated to Song, Jin dynasty in the British Museum, museum number 1930,0719.32.

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1159. A fine and rare Chinese blue and white Guan jar, mark and period of Jiajing This high-quality jar of shouldered ovoid form, raised neck and slightly recessed base, well painted around the sides in inky underglaze blue with a strutting peahen flanked by two peacocks standing with their long tails on pierced rockwork growing with flowering peonies, the scene divided by floral sprigs growing from further ornamental rockery, between upright and pendant lotus petal lappets around the base and shoulders, below the short neck encircled by a line border, the base painted with a six-character mark of Jiajing and of the period in blue. Period: Jiajing mark and period. Height: 13 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoyé Constans Lundquist (1891‑1950), thence by descent in the family. Compare a very similar jar also with a Jiajing mark in the British Museum, registration number OA 1975.10‑28.22, given to the museum by Sir John Addis and illustrated by Jessica Harrison-Hall in Catalogue of late Yuan and Ming Ceramics in the British Museum, 2001, pl. 9:48, p. 236; and also illustrated by Addis, Chinese Porcelain from the Addis Collection, no. 22, where it is noted that the design corresponds to an order to Jingdezhen from the court of Jiajing, quoted by Bushell in his translation of the Tao Shuo, for ‘kuan decorated with peacocks and mutan peonies’ among the items ‘painted in blue on a white ground’. For condition reports visit: www.uppsalaauktion.se

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1160

1160. A Chinese blue and white jar and cover of large size The bulbous body rising from a flat foot and with a round flattened cover, decorated around the body with large cartouches painted with antiquities and auspicious objects in shades of underglaze blue, the base glazed. Period: 19th century. Height: 31 cm. / 6.000 - 8.000 / / 2 640 - 850 /

1161

1161. A monochrome ‘clair de lune’-glaze bottle vase The rounded pear-shaped body rising to a slender neck finishing with a moulded bulb-neck mouth, covered overall in a light blue glaze, the base with a square seal mark of Qianlong in blue. Period: 19th/20th century. Height: 36,5 cm. / 6.000 - 8.000 / / 2 640 - 850 /

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1162

1162. A blue and white basin. Of oval shallow form on a high domed foot, the body well painted in 15th century style with a continuous band of scrolling plants above a broad key fret border below which is a band of ruyi-heads, the foot with a wave border, the mouth rim with a thin key fret border, the base glazed. On the body a rectangular panel. Marked Guan Lian Fang Zhi. Period: 19th / 20th century. Length 27,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / 1163. A pair of Chinese blue and white dishes. Of round forms painted in the Mingstyle with simulated ‘heaping and piling’ and decorated in shades of underglaze blue with scrolling tendrils of lotus and chrysanthemum, the bases with square seal marks of Daoguang in blue. Period: Daoguang. Diameter: 14 cm.

1163

/ 5.000 - 6.000 / / 2 530 - 640 / Provenance: Present owners parents lived in Beijing 1956‑1959, where the father was a diplomat, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price. For condition reports visit: www.uppsalaauktion.se

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1164

1164. A pair of large of Chinese famille rose jardinières. The rounded bodies rising to short flared and flattened rims, decorated around the exterior sides with ladies at leisure in a terrace garden engaged in various pursuits and lines of calligraphy all in between complex bands of stylised ruyi-heads and floral scrolls around the rims and lappet borders above the feet. Period: 20th century. Height: 48 cm, Diameter: 52 cm and 53 cm. / 20.000 - 25.000 / / 2 2.100 - 2.700 / Provenance: Inherited by the present owner from her father, who acquired this lot in the 1970´s. 1165

1165. A Chinese famille rose vase. The baluster body rising to a short flaring neck with a galleried rim, the shoulder flanked by simulated rope handles, decorated around the body with a continuous scene of scholars studying a scroll, with young attendants nearby, set in between a band of scrolling lotus and flower-heads on a green ground around the shoulder and a lappet band above a further lotus band on a yellow ground around the foot, the neck similarly decorated with scattered flowers and lotus on a yellow ground, the white glazed base with a square fourcharacter Qianlong mark in red on a gilt ground. Height: 34 cm. / 20.000 - 25.000 / / 2 2.100 - 2.700 /

118

1166. A pair of famille rose vases Of hexagonal square section, with baluster bodies and flared necks flanked by moulded handles shaped as pomegranate branches, each vase decorated in mirror image with a scene covering three sides of the bodies with nine scholars and two attendants engaged in various pursuits including studying a scroll painted with bamboo, all beneath a pine tree and with a crane flying above and a short line of calligraphy, the other three sides of each vase painted with lines of calligraphy alternating with vases and vessels filled with flowers and fruit, the necks decorated with scattered floral sprays, the splayed feet with single characters in black. With signature of Pan Zhao Tang. Period: 20th century. Height: 57 cm.

1166

/ 25.000 - 30.000 / / 2 2.700 - 3.200 /

1167

1167. A Chinese famille verte beaker vase, gu Of archaistic baluster form and square section, with a moulded, slightly tapered mid-section supported on a splayed base and surmounted by a tall flared neck with a straight upright rim, decorated on each side of the central section with panels painted with stylised dragons, in between pendant and upright plantain leaves on the flared neck and splayed foot. Period: Kangxi. Height: 28 cm. / 5.000 - 6.000 / / 2 530 - 640 / For condition reports visit: www.uppsalaauktion.se

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1168

1168. A pair of Chinese blue and white bowls. Decorated on the exterior with three fruiting branches including pomegranate and peaches and on the interiors with a central roundel containing a spray with three peaches, the bases with square seal marks of Jiaqing in underglaze blue. Diameter: 12 cm. / 4.000 - 6.000 / / 2 430 - 640 / 1169

1169. A pair of Kangxi Style Chinese Beaker vases of slender form with flaring rims and raised central band, decorated on the upper register with a scene of dignitaries and ladies at leisurely pursuits on a terrace, the lower register with further scenes of people engaged in leisurely pursuits framed by stiff plantain, the central boss with stylised rock work and little boys. Period: 20th century. Height: 48 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

120

1170. A Chinese blue and white vase. Of flattened inverted baluster form with C- shaped handles decorated with a scene of two dignitaries and their attendants standing on a terrace, one dignitary with a bird of prey on his outstretched arm, one attendant carrying a covered bowl on his shoulder, the other attendant with a parasol, in the background trees and stylised rock work, the scene framed by butterflies and branches on a dense blue ground. Period: Late 19th century. Height: 27,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Present owners parents lived in Beijing 1956‑1959, where the father was a diplomat, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price. For condition reports visit: www.uppsalaauktion.se

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1171. A Chinese ”Dragon” Bottle Vase The body painted in bright famille rose enamels with two five-clawed dragons contesting the fiery pearl amongst ruyi-shaped clouds, on the shoulder a wide band of ruyi heads separated from stiff upright leaves by a band of key-work pattern, the neck with further ruyi-shaped clouds, the flaring rim with a band of ruyi-heads, the foot with a continous wave pattern. The base with an apocryphal red seal mark of Qianlong. Period: 19th / 20th century. Height: 39,5 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / Provenance: Business man Sigfrid Lundberg, Helsingborg (1885‑1964), by descent to his daughter Sig-Britt Swensson, thence to the present owner.

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1172. A Chinese ”Dragon” Bottle Vase The body painted in bright famille rose enamels with two four-clawed dragons contesting the fiery pearl amongst ruyi-shaped clouds, on the shoulder a wide band of blossoms separated from stiff upright leaves by a band of triangular-work pattern, a third dragon is coiled around the neck amongst ruyi-shaped clouds, the flaring rim with a band of ruyi-heads, the foot with a continous wave pattern. The base with a six-character mark in red of Guangxu. Period: probably Guangxu. Height: 39,5 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: Business man Sigfrid Lundberg, Helsingborg (1885‑1964), by descent to his daughter Sig-Britt Swensson, thence to the present owner. For condition reports visit: www.uppsalaauktion.se

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1173

1173. An unusual enamelled ”lotus bouquet” dish. Painted in coloured enamels in the centre with a ribboned bouquet of lotus flowers encircled by a tasselled yellow ribbon surrounded by a composite floral meander of camellia, hibiscus, peony, gardenia on the cavetto beneath a classic scroll band at the lip, with a similar flower scroll on the exterior. The base with the six-character mark of Xuande in blue. Period: 19th / 20th century. Diameter: 27 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: Present owners mother inherited this dish in the 1960’s. This beautifully composed ”lotus bouquet” motif is one of the classic designs of the early Ming dynasty, Yongle period, at that time painted in blue and white. Here the pattern is faithfully reproduced using the same composite meander of flowers.

1174

1174. A Doucai Medallion bowl The bowl is finely enamelled in yellow, iron-red and green with five roundels containing either flowering or fruiting trees divided pomegranate sprays above a band of overlapping leaf lappets around the base, the design all outlined in underglaze- blue. The base with a square seal mark in underglaze blue of Qianlong. Period: Qianlong mark, 20th century. Diameter: 14 cm. / 4.000 - 6.000 / / 2 430 - 640 / The medallion design originated in the Kangxi period, for an example see a similar bowl from the collection of the Beijing Palace Museum, illustrated in Procelains in Polychrome and Contrasting Colours, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, p.216, pl. 197. The pattern continued in the subsequent reigns, with known examples from the Qianlong, Jiaqing and Daoguang periods.

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1175. A large Chinese famille rose bottle vase, Tianqiuping The bulbous body rising to a slender neck, exquisitely painted in soft famille rose colours and decorated with a scene of two pairs of quail, one pair perched on stylised rockwork amongst flowers including large chrysanthemum, tall bamboo, and the other pair in long grass, a butterfly buzzing above, all set between a yellow-ground ruyi-head border around the mouth and a yellow-ground lappet band encircling the foot, the glazed base with a six-character mark of Qianlong in red but later. Height: 47 cm. / 75.000 - 100.000 / / 2 8.000 - 11.000 / In Chinese mythology the quail signifies courage because of its pugnacious character. For condition reports visit: www.uppsalaauktion.se

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1176

1176. A collection of four iron-red ‘dragon’ wine cups Decorated around the bodies with writhing and scaly dragons chasing the flaming pearl amidst flames and above crashing waves, the bases with six-character marks of Guangxu in underglaze blue. Diameter: 6 cm. / 4.000 - 6.000 / / 2 430 - 640 /

1177

1177. A Chinese iron-red and blue ‘dragon’ box and cover. Of square form with canted edges, the cover painted with a side-facing dragon five-clawed dragon in iron-red, his claws and teeth highlighted in white enamel, writhing against a background of cloud formations, bordered by eight flower heads on a dense blue ground, the rim with a scroll pattern, repeated on the rim of the box base Qianlong six-character mark in blue on base. Period: 20th century. Measurements: 8 cm x 8 cm. / 4.000 - 6.000 / / 2 430 - 640 /

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1178. A Chinese ‘famille noire’ ginger jar and cover The rounded baluster body rising from a flat foot and surmounted by a domed cover, decorated in famille verte enamels with a continuous scene around the body of gnarled budding and blossoming trees, long grasses and further flowers all issuing from stylised rock-work or the ground and set on a black ground, the cover similarly decorated, the base inscribed with a Kangxi mark. Period: 19th century. Height: 24 cm.

1178

/ 4.000 - 5.000 / / 2 430 - 530 / Provenance: From the collection of Birgit and Bengt Bengtsson, Sweden.

1179

1179. An Underglaze Red ”Yuan type” Decorated Bottle Vase, Yuhuchunping The pear- shaped body with narrow neck and flaring rim, painted in underglaze red with a sinewy 3-clawed dragon coiled around the body. Period: 18th/19th century. Height: 23,5 cm. / 4.000 - 6.000 / / 2 430 - 640 / For the protoype of this design see, The Ataka collection in the Museum of Oriental Ceramics, Osaka, included in the Museum’s exhibition Blue and White Wares in Yuan Dynasty. 14th century Ching-te Chen Wares, Osaka, 1985, cat. no. 24. For condition reports visit: www.uppsalaauktion.se

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1180

1180. A Chinese pink-enamelled bowl The deep rounded sides rising from a short foot to a very slightly flared rim, covered on the exterior in a pink glaze, the interior white, the base glazed and inscribed in the centre with a six-character mark of Guangxu in iron-red. Period: 20th century. Diameter: 13 cm. / 4.000 - 6.000 / / 2 430 - 640 /

1181

1181. A Chinese famille rose turquoise-ground bowl Of round form, the deep sides rising to a gently everted rim and supported on a straight foot, decorated around the exterior with a procession of boys holding various toys and objects, including a lantern, a large pomegranate and a flower spray, all painted in soft famille rose colours and reserved on a ground of turquoise glaze, the scene repeated around the interior walls of the bowl, with a small boy seated in the centre holding a ruyi-sceptre aloft, the base also in a turquoise glaze and with a square seal mark of Jiaqing sealmark in iron-red on white. Period: Jiaqing mark, but later. Diameter: 15,5 cm. / 6.000 - 8.000 / / 2 640 - 850 /

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1182

1182. A Chinese polychrome ‘butterfly’ bowl Of round form, the deep rounded sides rising from a short straight foot, decorated around the exterior sides and on the interior with large butterflies in various multicoloured shades and positions, the base inscribed with a square four character seal mark of Yongzheng in blue. Period: 20th century. Diameter: 13 cm. / 4.000 - 6.000 / / 2 430 - 640 / 1183

1183. A Chinese famille rose butterfly bowl The deep rounded sides rising from a short foot to a very slightly flared rim, decorated around the exterior with five medallions painted with butterflies, the recessed and glazed base inscribed with a six-character mark of Yongzheng inside double circular lines. Period: 20th century. Diameter: 13,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Accordingly to Chinese tradition, butterflies are an auspicious sign. They convey a wish for longevity, and were therefore often used to decorate birthday gifts or lanterns given during the Autumn Moon Festival: on the 15th day of the 8th month of the lunar calendar (usually around September). The Festival is celebrated by lighting lanterns of different shapes, sizes and colours, and by gazing at the moon. For condition reports visit: www.uppsalaauktion.se

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1184

1184. A light green-glazed garlic neck vase. The base with a Daoguang mark but later. Height: 11 cm. / 5.000 - 6.000 / / 2 530 - 640 /

1185

1185. A small vase Of ovoid form and slightly flaring neck painted with two panels of two little boys, one panel a boy holds a ruyi stick aloft in his other hand twin fish, the other panel one boy carries a lantern and the other boy carries a toy reserved against a yellow background of flowering lotus and blossoms, the base with the seal mark of Qianlong on a turquoise ground. Period: Qianlong mark, 20th century. Height: 16,5 cm. / 6.000 - 8.000 / / 2 640 - 850 /

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请注意：参与本次亚洲艺术品拍卖，您必须预先登记注册并交付保证金。

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For enquiries please contact: preregistration@uppsalaauktion.se

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To be sold at the Modern Sale Thursday 3 December 2015, 12 noon

XIUZHANG WANG

LEI LI

HAIZENG SONG

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LIFENG SHI

LIN FENGMIAN

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uppsala auktionskammares köparvillkor Terms and Conditions for Buyers - for English visit www.uppsalaauktion.se 1. Allmänna villkor 1.1 Dessa allmänna villkor gäller som standardvillkor mellan budgivare (”Budgivaren”) och AB Uppsala Nya Auktionskammare (”UAK”). De tillämpas vid UAK:s samtliga auktioner. 1.2 Vid var tid gällande allmänna villkor publiceras på UAK:s hemsida och i UAK:s tryckta auktionskataloger. 2. Registrering 2.1 För att få delta i UAK:s auktioner ska Budgivaren vara registrerad hos UAK. Registrering sker antingen på UAK:s kontor eller på www.uppsalaauktion.se. 2.2 UAK har rätt att kräva att Budgivaren legitimerar sig i samband med registreringen. De uppgifter som Budgivaren lämnar vid registreringen ska vara korrekta och fullständiga. Ändras senare någon registrerad uppgift ska Budgivaren anmäla detta till UAK. 2.3 UAK har rätt att kräva att Budgivaren för att få bjuda på en viss auktion, generellt eller på ett visst eller vissa föremål, deponerar ett av UAK bestämt belopp på ett av UAK anvisat sätt. Om Budgivaren vinner en budgivning och sedan inte fullföljer sitt köp accepterar Budgivaren att depositionen tillfaller UAK som normerat skadestånd utan rätt för Budgivaren till någon avräkning. Om UAK:s skada till följd av att Budgivaren inte fullföljer ett köp väsentligen överstiger depositionen har UAK rätt att kräva Budgivaren på mellanskillnaden. Om Budgivaren inte vinner den budgivning för vilken depositionen utgör säkerhet skall UAK snarast möjligt återställa depositionen till Budgivaren, under förutsättning att Budgivaren inte av någon annan anledning häftar i skuld till UAK. 2.4 Registrering kan endast ske om Budgivaren godkänner dessa allmänna villkor. 2.5 Budgivaren medger att UAK inför registrering och/eller senare tar kreditupplysning (motsv.) på Budgivaren. 2.6 UAK har rätt att vägra registrering och har även rätt att avregistrera Budgivaren med omedelbar verkan eller från viss senare tidpunkt utan att ange något skäl för detta. Även om avregistrering sker fortsätter de allmänna villkoren att gälla för redan avgivna bud och genomförda köp. 3. Försäljning sker i kommission 3.1 Samtliga föremål säljs i kommission. Undantagsvis kan dock UAK sälja föremål för egen räkning som UAK inom ramen för auktionsverksamheten kommit att bli ägare till, exempelvis efter återtagande från en kund. 4. Försäljning i befintligt skick, Budgivarens undersökningsplikt 4.1 Samtliga föremål är begagnade och säljs i befintligt skick. 4.2 Eftersom föremålen säljs i befintligt skick har Budgivaren en långtgående egen undersökningsplikt. 4.3 Mot bakgrund av undersökningsplikten bör Budgivaren innan auktionstillfället genom en egen noggrann undersökning av det aktuella föremålet bedöma föremålets beskaffenhet och skick. UAK kan inte lastas för om Budgivaren försummar sin undersökningsplikt och ansvarar inte för sådant som Budgivaren borde ha upptäckt om Budgivaren fullgjort sin undersökningsplikt. 5. Beskrivningen av föremål 5.1 Katalogbeskrivningarna görs med omsorg, men UAK ansvarar inte för felaktiga eller ofullständiga katalogbeskrivningar om inte den felaktiga eller ofullständiga uppgiften är väsentlig. 5.2 Vid bedömningen av om en katalogbeskrivning är väsentligt felaktig eller väsentligt ofullständig ska bl.a. beaktas föremålets utropspris och ursprung, varvid kraven på katalogbeskrivningen är lägre för billigare och/eller icke svenska föremål. 5.3 Bedömningen av om en katalogbeskrivning är väsentligt felaktig eller väsentligt ofullständig ska göras utifrån den kunskap som fanns i Sverige och den allmänna uppfattningen bland branschfolk i Sverige vid tidpunkten för den aktuella auktionen. 5.4 Katalogbeskrivningarna är inte alltid uttömmande. Omfattningen varierar mellan olika föremål. Generellt gäller att beskrivningarna är mer omfattande när det gäller föremål som säljs på en Inter¬nationell Kvalitetsauktion och mindre omfattande när det gäller föremål som säljs på en Onlinekvalitetsauktion. 5.5 I katalogbeskrivningarna eventuellt ingående uppgifter om t.ex. upphovsman, äkthet, ålder, teknik, proveniens och skick är bara avsedda som översiktlig information och underlag för Budgivarens egen undersökning och bedömning av det aktuella föremålet. 5.6 Om en katalogbeskrivning föreligger på olika språk, gäller den svenska versionen vid eventuell misstämmelse.

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6. Ändring och komplettering av beskrivningen av föremål 6.1 UAK har rätt att ändra och komplettera en katalogbeskrivning innan auktionstillfället. Eventuella ändringar och kompletteringar bekantgörs på UAK:s hemsida. Budgivaren är skyldig att ta del av sådan information. UAK har inget ansvar om budgivarna försummar detta. 7. Konditionsrapporter 7.1 UAK har rätt, men ingen skyldighet, att på begäran av Budgivaren lämna en särskild skriftlig konditionsrapport över ett föremåls allmänna kondition och eventuella skador, lagningar m.m. Uppgifter i en sådan konditionsrapport är på samma sätt som katalogbeskrivningen bara avsedd som ett underlag för Budgivaren vid dennes egen undersökning och bedömning av föremålet och befriar inte Budgivaren från dennes egen undersökningsplikt. UAK ansvarar för uppgifter i en konditionsrapport är därför begränsat på samma sätt som gäller för felaktiga eller ofullständiga kataloguppgifter. 8. Ansvar för fel i sålda föremål 8.1 Mot bakgrund av att samtliga föremål säljs i befintligt skick och Budgivarens undersökningsplikt, är UAK:s ansvar för fel i sålda föremål begränsat till väsentliga fel i katalogbeskrivningarna. Med de begränsningar som framgår av efterföljande punkter i detta avsnitt, ansvarar UAK härutöver för fel i sålda föremål som beror på uppsåt eller grov vårdslöshet. 8.2 Detta innebär att UAK inte ansvarar för naturligt slitage, smärre skador och defekter som exempelvis uppfordring av dukar, ramars kondition, naturliga förändringar i material såsom bl.a. blekning av papper och sprickbildning i trä, även om detta inte framgår av katalogbeskrivningen av ett föremål. Sådana defekter utgör därför inte grund för reklamation. 8.3 Avbildningar i kataloger, på UAK:s hemsida eller i konditionsrapporter sker endast i identifieringssyfte och UAK ansvarar därför inte för skador eller brister inte framgår av sådana avbildningar. 8.4 Ur, urverk och mekaniska och eldrivna föremål säljs som konstföremål och UAK ansvarar inte för att de fungerar som tidmätare eller på annat sätt tekniskt. 8.5 UAK ansvarar aldrig för uppgifter om föremål som eventuellt lämnas muntligt. 9. Reklamation, ansvarsbegränsning 9.1 Eventuella fel ska alltid reklameras till UAK omedelbart efter det att Budgivaren märkt eller bort märka felet och under alla förhållanden senast inom 14 kalenderdagar från auktionsdagen. Reklamation avseende upphovsman får dock göras i upp till två år från auktionsdagen. 9.2 Alla reklamationer ska ske skriftligen. 9.3 Om angivna reklamationsfrister inte iakttas har Budgivaren inte rätt att åberopa eventuella fel. 9.4 UAK har rätt att på egen bekostnad avhjälpa sådana fel eller brister i sålda föremål som UAK ansvarar för, inkl. att låta laga skadade föremål. Om ett föremåls värde härefter är inte obetydligt lägre än det skulle ha varit om felet eller bristen inte förelegat, har Budgivaren härutöver rätt till skäligt prisavdrag. 9.5 Vid väsentliga fel som UAK ansvarar för har Budgivaren rätt att häva köpet. 9.6 Om UAK har rätt att åtgärda fel eller brist genom att laga aktuellt föremål och/ eller att sätta ned priset, kan UAK (men inte Budgivaren, om det inte rör sig om ett väsentligt fel) i stället välja att häva köpet. 9.7 UAK ansvar i förhållande till Budgivaren för fel är alltid begränsat till att som mest, mot återfående av föremålet, återbetala det klubbade priset jämte provision, mervärdeskatt och eventuell följerätt. Någon ytterligare ersättning har Budgivaren inte rätt till. UAK ansvarar således inte för indirekta skador som Budgivaren kan drabbas av. 10. Utropspris och bevakningspris 10.1 Ett föremåls utropspris är baserat på UAK:s försiktiga marknadsvärdering. Utropspriset tjänar endast till vägledning och det slutliga försäljningspriset kan avvika väsentligt från utropspriset både uppåt och nedåt. 10.2 Alla utropspriser anges i svenska kronor (SEK). 10.3 Till vägledning för Budgivaren anges på vissa auktioner även utropspriser i andra valutor än SEK efter en avrundad ungefärlig omräkningskurs vid tidpunkten för katalogens tryckning. 10.4 De flesta föremål är åsatta ett bevakningspris. Detta bekantgörs inte före det att budgivningen blir offentlig, men överstiger aldrig lägsta utropspris (det lägre utropspriset om detta anges i ett intervall). Föremål säljs inte under bevakningspriset.

uppsala auktionskammares köparvillkor Terms and Conditions for Buyers - for English visit www.uppsalaauktion.se

11. Allmänt om budgivning 11.1 Ett avgivet bud är bindande för Budgivaren. 11.2 Ett avgivet bud kan inte återkallas, om detta inte för vissa fall uttryckligen framgår av dessa allmänna villkor, se punkterna 13.5 och 14.7–8. 11.3 All budgivning sker i svenska kronor (SEK). 11.4 Budgivaren är skyldig att legitimera sig i förhållande till UAK. 11.5 UAK har rätt att kräva att Budgivaren ställer säkerhet eller lämnar referenser, som är godtagbara enligt UAK:s skönsmässiga bedömning. UAK har därtill rätt att bestämma en övre gräns avseende total inropssumma för Budgivaren. 11.6 UAK och också rätt att utan att ange någon orsak vägra Budgivaren att delta i budgivningen och i förekommande fall att också att avvisa Budgivaren från UAK:s lokaler. 11.7 Vid lika bud har det först inkomna företräde. 11.8 Auktionskommissarien (utroparen) beslutar med vilket belopp som höjning av ett bud ska göras för att ett nytt bud ska anses föreligga. Detta sker med beaktande av den prisnivå på vilken budgivningen pågår. 11.9 Köpare blir den som avgett det högsta budet. Denne budgivare har ingått bindande avtal om köp av aktuellt föremål. 11.10 Vid lika bud, vid oklar budgivning eller vid tvister vid budgivningen beslutar auktionskommissarien vilket bud som ska ges företräde till köp eller att budgivningen ska återupptas. 11.11 Det är inte tillåtet för Budgivaren att själv eller genom någon annan manipulera budgivningen. 11.12 UAK:s (auktionskommissariens) beslut enligt detta avsnitt 11 är utan appell och är aldrig ansvarsgrundande även om de skulle vålla Budgivaren skada. 11.13 Bud kan lämnas på följande sätt vid de typer av auktioner som förekommer:

Egen budgivning i auktionsalen

Internationell kvalitetsauktion

Onlinekvalitetsauktion

Skriftligt Inropsuppdrag som lämnas vid besök hos UAK Ja eller sänds in via fax, e-post eller vanlig post

Nej

Internetbud innan slagauktionen börjar

Ja*

Internetbud i realtid under pågående slagauktion

Telefonbud

*/ OBS: Internetbud innan slagauktionen börjar kan inte återkallas på Onlinekvalitetsauktioner. 11.14 Utöver de allmänna villkor för budgivning som framgår av detta avsnitt 11 gäller de särskilda villkoren för olika formerna av budgivning vilka framgår av avsnitten 12–16.

12. Särskilt om egen budgivning i auktionssalen 12.1 Egen budgivning i auktionssalen kan ske både vid Internationella kvalitetsauktioner och Onlinekvalitetsuaktioner. 12.2 Budgivare som önskar delta själv i budgivningen i auktionssalen ska innan auktionen påbörjas ansöka om s.k. auktionsspade med inropsnummer. 12.3 Bud avges genom att Budgivaren tydligt håller upp sin auktionsspade, med annat tydligt tecken eller med tydlig röst. Vinnande budgivare ska alltid efter klubbslaget visa upp sin auktionsspade för korrekt registrering av köpet. 12.4 Bud som avges i auktionssalen är bindande och oåterkalleligt tills ett eventuellt högre bud har avgetts. 13. Särskilt om budgivning genom skriftligt inropsuppdrag 13.1 Skriftliga inropsuppdrag tas emot till Internationella kvalitetsauktioner men inte till Onlinekvalitetsuaktioner. 13.2 Skriftliga inropsuppdrag kan lämnas till UAK eller sändas in via fax, e-post eller vanlig post. 13.3 Skriftliga inköpsuppdrag ska vara UAK tillhanda senast två timmar innan den auktion startar på vilken det aktuella föremålet ska ropas ut. 13.4 UAK bjuder så förmånligt som möjligt för den som lämnat ett skriftligt inköpsuppdrag upp till angivet maxbud. 13.5 Ett skriftlig inköpsuppdrag kan återkallas senast tre timmar innan den auktion startar på vilken det aktuella föremålet ska ropas ut. Eventuell återkallelse ska ske skriftligen. 13.6 Budgivaren ansvar för köp som kommer till stånd till följd av att ett skriftligt inköpsuppdrag är otydligt eller är felaktigt p.g.a. misskrivning eller av annat skäl. Vid misstämmelse mellan olika uppgifter i ett skriftligt inropsuppdrag, har angivet

auktionsnummer företräde framför andra uppgifter och UAK har rätt att utgå från att auktionsnumret är korrekt angivet utan att kontrollera detta med Budgivaren. 13.7 Insändandet av och eventuell återkallelse av skriftliga inköpsuppdrag sker på Budgivarens risk och UAK ansvarar inte för förseningar i teleöverföring, postdistribution eller andra tekniska störningar. UAK ansvar inte heller för skada som kan uppkomma om UAK försummar att utföra ett skriftligt inköpsuppdrag. Den som säkert vill delta i en auktion bör därför personligen bjuda i auktionssalen. 14. Särskilt om internetbud innan slagauktionen börjar 14.1 Inropsuppdrag via internet innan slagauktionen börjar tas emot både vid Internationella kvalitetsauktioner och Onlinekvalitetsuaktioner. Observera dock att något olika regler gäller för sådana bud vid de olika auktionsformera, på sätt framgår av det följande. Bl.a. gäller att internetbud inte kan återkallas vid Onlinekvalitetsuaktioner. 14.2 Inropsuppdrag via internet förutsätter att Budgivaren har ett internetkundskonto registrerat hos UAK. Ansökan om internetkundskonto ska göras i god tid före aktuell auktion. 14.3 Inropsuppdrag via internet ska vara UAK tillhanda senast två timmar innan den slagauktion startar på vilken det aktuella föremålet ska ropas ut. 14.4 UAK bekräftar med e-post mottagandet av ett inropsuppdrag som har lämnats via internet. 14.5 UAK bjuder så förmånligt som möjligt för den som lämnat ett inropsuppdrag via internet upp till angivet maxbud. 14.6 På en Onlinekvalitetsauktion (men inte på en Internationell kvalitetsauktion) redovisas budgivningen öppet på UAK:s hemsida före det att auktionen övergår till en traditionell slagauktion i auktionssalen, dock utan att Budgivarens identitet

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uppsala auktionskammares köparvillkor Terms and Conditions for Buyers - for English visit www.uppsalaauktion.se och lämnat maxbud framgår. Den som har det högsta internetbudet då en Onlinekvalitetsauktion övergår till traditionell slagauktion erhåller föremålet om inga högre bud lämnas i salen, genom internet i realtid eller via telefon. Under slagauktionen bevakas interbud vid Onlinekvalitetsuaktioner på samma sätt som vid Internationella kvalitetsauktioner upp till angivet maxbud. 14.7 Ett inropsuppdrag via internet som avser en internationell kvalitetsauktion kan återkallas senast tre timmar innan den auktion startar på vilken det aktuella föremålet ska ropas ut. Eventuell återkallelse ska ske via internet. 14.8 Eftersom Onlinekvalitetsauktionerna genomförs som öppna auktioner där inkomna bud redovisas fortlöpande är de bud som lämnats bindande och det är därför inte möjligt att återkalla ett internetbud på en Onlinekvalitetsauktion. 14.9 Budgivaren ansvar för köp som kommer till stånd till följd av att ett inropsuppdrag via internet är otydligt eller felaktigt p.g.a. misskrivning eller av annat skäl. 14.10 Insändandet av inropsuppdrag via internet och eventuell återkallelse av sådana uppdrag (i de fall där återkallelse enligt ovan är möjlig) sker på Budgivarens risk och UAK ansvarar inte för avbrott, förseningar eller störningar i teleöverföring eller andra tekniska störningar. UAK ansvar inte heller för skada som kan uppkomma om UAK försummar att utföra ett inropsuppdrag via internet. Den som säkert vill delta i en auktion bör därför personligen bjuda i auktionssalen. 15. Särskilt om internetbud i realtid under pågående slagauktion 15.1 Internetbud i realtid under pågående slagauktion kan lämnas både vid Internationella kvalitetsauktioner och vid Onlinekvalitetsuaktioner. 15.2 Bud via internet i realtid innebär att Budgivaren deltar i realtid i auktionen genom internet. 15.3 Budgivning via internet i realtid förutsätter att Budgivaren har ett internetkundskonto registrerat hos UAK. Ansökan om internetkundskonto ska göras i god tid före aktuell auktion. 15.4 Bud via internet i realtid är bindande och oåterkalleligt tills ett eventuellt högre bud har avgetts. 15.5 Budgivaren ansvar för köp som kommer till stånd p.g.a. av bud som har samband med Budgivarens inloggning i realtid, även om ett sådant bud exempelvis har avgetts av misstag. 15.6 Budgivning via internet i realtid sker på Budgivarens risk och UAK ansvarar inte för avbrott, förseningar eller störningar i teleöverföring eller andra tekniska störningar. Den som säkert vill delta i en auktion bör därför personligen bjuda i auktionssalen. 16. Särskilt om telefonbud 16.1 Telefonbud kan lämnas både vid Internationella kvalitetsauktioner och vid Onlinekvalitetsuaktioner. 16.2 Budgivning genom telefon innebär att Budgivaren deltar i auktionen i realtid per telefon. 16.3 Budgivning genom telefon förutsätter att Budgivaren anmäler sin önskan om att delta på detta sätt senast kl. 18.00 (svensk tid) dagen före aktuell auktionsdag samt därutöver att UAK har kapacitet för att ta emot telefonbud i form av ledig telefonlinje. 16.4 Budgivare som anmäler sig att delta genom telefonbud ska vid anmälan tydligt ange de föremål som kunden önskar bjuda på per telefon och vilket telefonnummer kunden önskar bli uppringd på under auktionen. Anmälan till telefonbud bekräftas skriftligen av UAK genom e-post. 16.5 Telefonbud tas inte emot beträffande föremål med ett utropspris som understiger 3.000 SEK. 16.6 Den som anmäler till telefonbud förbinder sig att bjuda minst utropspriseter (det lägre utropspriset om detta anges i ett intervall) för de föremål som Budgivaren angett i sin anmälan. 16.7 Bud som avges per telefon är bindande och oåterkalleligt tills ett eventuellt högre bud har avgetts. 16.8 Budgivaren är ansvarig för köp som kommer till stånd till följd av ett otydligt eller felaktigt telefon¬bud. 16.9 Telefonbudgivning sker på Budgivarens risk och UAK ansvarar inte för avbrott, fördröjningar eller andra störningar i teletrafiken eller andra tekniska störningar som omöjliggör eller försvårar budgivningen. UAK ansvarar inte heller för skada som kan uppkomma om UAK inte ringer upp den som anmält sig för att delta genom telefonbud. Den som säkert vill delta i en auktion bör därför personligen bjuda i auktionssalen. 16.10 UAK har rätt att i dokumentationssyfte spela in telefonsamtal i samband med budgivning genom telefon.

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17.Transportköp 17.1 Transportköp eller annan anvisning i efterhand till annan köpare än Budgivaren medges inte. 18. Avgifter vid köp 18.1 Vid köp på en Internationell Kvalitetsauktion tillkommer en inropsavgift på 22,5 procent inkl. moms. (18,0 procent exkl. moms) på klubbat belopp. 18.2 Vid köp på en Onelinekvalitetsauktion tillkommer en inropsavgift på 22,5 procent inkl. moms. (18,0 procent exkl. moms) på klubbat belopp. På Onlinekvalitetsauktioner tillkommer härutöver en slagavgift på 50 SEK inkl. moms (40 SEK exkl. moms) för varje inropat föremål. 18.3 Moms utgår på inropsavgifter och slagavgifter men inte på det klubbade priset. 18.4 På föremål som inlämnats från länder utanför EU tillkommer härutöver införselmoms med f.n. 12 procent. Föremål som berörs av detta markeras på UAK:s hemsida. 18.5 För upphovsrättsligt skyddade föremål (vanligen bl.a. glas, grafik, keramik, måleri, möbler, silver och textilier, dock inte föremål som framställts i fler än ett begränsat antal exemplar) tillkommer enligt närmare regler i 26 n – 26 p §§ lagen (1960:729) om upphovsrätt till litterära och konstnärliga verk ersättning vid vidareförsäljning (s.k. droit de suite eller följerätt). Ersättningen utgår med högst fem procent och tas ut för föremål som säljs under upphovsmannens livstid eller 70 år därefter. Ersättning tas inte ut för försäljningar där det klubbade priset understiger fem procent av prisbasbeloppet (f.n. 2.200 SEK). Verk belagda med följerätt markeras i auktionskata¬logerna med ”D”. 18.6 Inropsavgift och i förekommande fall slagavgift och/eller avgift för följerätt samt föreskriven moms betalas av Budgivaren. 19. Auktionsresultat 19.1 Budgivaren är skyldig att själv kontrollera om lämnat bud lett till köp. 19.2 Budgivaren erhåller efter auktionen en skriftlig bekräftelse via e-post eller vanlig post på de köp som kommit till stånd. 19.3 Slutprislista publiceras på UAK:s hemsida. 20. Betalning 20.1 All betalning ska ske i svenska kronor (SEK). Budgivaren står för eventuella växlingsavgifter och kursrisker. 20.2 Full betalning av inropade föremål ska vara UAK tillhanda senast tio kalenderdagar efter sista auktionsdagen i den auktionsomgång då föremålet såldes. 20.3 Betalning ska erläggas antingen genom insättning på UAK:s bankgirokonto, plusgirokonto eller bankkonto eller genom svenskt bankkort eller vissa kreditkort. Vid betalning med kort tillkommer i förekommande fall kortföretagets inlösenavgifter (upp till 2,5 procent på det totala beloppet). UAK tar inte emot kontant betalning. 21. Utebliven betalning 21.1 Om full betalning inte erläggs i rätt tid, får UAK debitera dröjsmålsränta med 24 procent per år på utestående belopp. UAK har också rätt att ta ut påminnelseavgift enligt förordningen (1981:1057) om ersättning för inkassokostnader m.m. Härutöver har UAK rätt till ersättning för skäliga inkasso- och andra rättsliga kostnader för att hävda och bevaka fordringen och driva in denna. 21.2 Vid utebliven betalning får UAK också, antingen omedelbart eller senare, häva köpet och kräva ersättning för skada (inkl. ersättning för skäliga rättsliga kostnader) eller, utan särskild underrättelse till Budgivaren i egen eller annans regi sälja, på auktion eller på annat sätt, det aktuella föremålet för Budgivarens räkning. UAK får i sådant fall på egen hand bestämma de utrops- och bevakningspriser som ska tillämpas, varvid något bevakningspris över huvud taget inte behöver tillämpas. Vid en sådan försäljning ska UAK också i skälig omfattning beakta Budgivarens intressen. Om ett föremål säljs på detta sätt får UAK från erhållen köpeskilling tillgodogöra sig ersättning för utestående fordringar samt kostnader för försäljningen. Eventuellt överskjutande belopp redovisas till Budgivaren. Om försäljningspriset inte räcker till för att täcka UAK:s fordringar och försäljningskostnader är Budgivaren skyldig att betala mel¬lanskillnaden. 22. Avhämtning 22.1 Inropade föremål ska avhämtas senast tio kalenderdagar efter sista auktionsdagen i den auktionsomgång då föremålet såldes. Inropade föremål får dock inte avhämtas innan full betalning kommit UAK tillhanda. 22.2 Om ett föremål inte avhämtas inom föreskriven tid uttas en förvaringsavgift på 50 SEK inkl. moms (40 SEK exkl. moms) för varje kalenderdag föremålet inte avhämtas. För möbler och andra skrymmande föremål uttas dubbel förvaringsavgift.

uppsala auktionskammares köparvillkor Terms and Conditions for Buyers - for English visit www.uppsalaauktion.se Alternativt har UAK rätt att översända föremål som inte avhämtas i tid till valfri speditionsfirma för magasinering. Budgivaren är i sådant fall skyldig att betala de faktiska kostnader som debiteras av speditionsföretaget. 22.3 UAK har också rätt att i egen eller annans regi, på auktion eller på annat sätt, sälja ett föremål som inte avhämtas inom 30 kalenderdagar från sista auktionsdagen i den auktionsomgång då föremålet såldes. Vid sådan försäljning tillämpas vad som i tillämpliga delar föreskrivs ovan i avsnitt 21. 22.4 UAK:s ansvar för icke avhämtade föremål är begränsat till 10.000.000 SEK per föremål. För föremål som inte avhämtas i tid, dvs. senast tio kalenderdagar efter sista auktionsdagen i den auktionsomgång då föremålet såldes, har UAK efter utgången av tidsfristen inget ansvar. Avhämtas inte ett föremål i tid förvaras det således härefter på Budgivarens risk. 22.5 Transport av inropade föremål från UAK:s lokaler till Budgivaren betalas av Budgivaren. Det åligger Budgivaren att själv eller genom annan ombesörja sådan transport. UAK kan anvisa transportör men tar inget ansvar för hur denne utför transporten. Risken för inropade föremål övergår till Budgivaren då föremålet lämnar UAK:s lokaler, om den inte redan dessförinnan övergått på Budgivaren enligt punkt 22.4. Budgivaren bör därför kontrollera att transportören är försäkrad Om UAK undantagsvis ombesörjer transport till Budgivaren sker det också på Budgivarens risk. 23. Force majeure 23.1 UAK är inte ansvarig för skada som beror på omständighet som UAK inte rimligen kunnat rå över eller känna till, exempelvis ändrad lagstiftning, myndighets åtgärd, valutarestriktioner, krigs- eller terroristhändelse, extrem väderlek, eldsvåda eller annan olyckshändelse, fel i kraftöverföring eller telenät, knapphet på transportmedel, allmän varuknapphet, lockout, strejk, bojkott och blockad eller annan liknande omständighet. Detta gäller oavsett om omständigheten inträffar i Sverige eller utomlands. Förbehållet i fråga om strejk, lockout, bojkott och blockad gäller även om UAK själv vidtar eller är föremål för sådan åtgärd. För att vara ansvarsbefriande ska omständigheten hindra eller avsevärt försvåra för UAK att i rätt tid fullgöra sina förpliktelser. 23.2 Om UAK:s fullgörande av viss förpliktelse försenas med mer än 180 kalenderdagar p.g.a. force majeure av nyssnämnt slag, får Budgivaren utan ersättningsskyldighet häva aktuellt köp. Hävning ska ske skriftligen. Vid sådant hävande har varken UAK eller Budgivaren rätt till någon ersättning från motparten. 24. Bildåtergivning 24.1 UAK fotograferar normalt de föremål som auktioneras ut. UAK har rätt att utan tillstånd av och ersättning till Budgivaren återge sådana avbildningar av sålda föremål i sin marknadsföring eller i annat sammanhang och ange till vilket pris föremålet har sålts. 25. Bild- och ljudupptagning 25.1 UAK har rätt att ta upp bild och ljud från visnings- och auktionslokaler. Sådan bild- och ljudupptagning får endast används i samband med tvister och vid utredning av brott. 26. Hantering av personuppgifter 26.1 Personuppgifter som har lämnats till UAK av Budgivaren behandlas av UAK för administration och fullgörande av UAK:s skyldigheter i förhållande till Budgivaren och andra kunder, auktionsverksamheten i övrigt och för att fullgöra skyldigheter som följer av lag. Personuppgifter kan även komma att behandlas av UAK för marknads- och kundanalyser och statistik samt för marknadsföringsändamål, exempelvis för utsändandet av nyhetsbrev och inbjudningar. Lämnade personuppgifter kan komma att kompletteras genom inhämtning från offentliga och privata register. Den som önskar få information om eller rättelse av egna personuppgifter som behandlas av UAK eller att lämnade personuppgifter inte ska användas för markansföringsändmål kan begära detta skriftligt hos UAK. 27. Sekretess 27.1 UAK åtar sig att hantera person- och affärsinformation avseende Budgivaren konfidentiellt och att endast lämna ut sådana upp¬gifter till utomstående om skyldighet härtill föreligger enligt lag. 28. Konsumentskyddslagstiftning 28.1 I den mån tvingande svensk konsumentskyddslagstiftning, exempelvis i konsumentköplagen (1990:932) innebär villkor som är fördelaktigare för Budgivaren än dessa allmänna villkor, tillämpas i stället villkoren i den tvingande lagstiftningen, förutsatt att Budgivaren agerat i egenskap av konsument.

29. Etiska regler 29.1 Utöver dessa allmänna villkor tillämpar UAK de etiska regler som vid var tid är beslutade av Svenska Auktionsföreningen. Dessa regler finns tillgängliga på www.auktionsforeningen.se. 30. Språkversioner 30.1 Dessa allmänna villkor föreligger på svenska och engelska. Vid eventuell misstämmelse mellan dessa versioner gäller den svenska versionen. 31. Ändring av de allmänna villkoren 31.1 Individuella ändringar av eller tillägg till dessa allmänna villkor gäller bara om de bekräftats skriftligt av UAK. 31.2 UAK har rätt att när som helst ändra dessa allmänna villkor. En ändring träder i kraft 30 kalenderdagar efter det att den bekantgjorts på UAK:s hemsida och gäller för bud som avges efter ikraftträdandet. 31.3 Det åligger Budgivaren att själv hålla sig uppdaterad om tillämpliga och vid var tid gällande villkor. 32. Tillämplig lag och tvistelösning 32.1 Eventuell tvist ska avgöras enligt svenskt lag vid Uppsala tingsrätt. 32.2 I den utsträckning som svensk lag medger har UAK rätt att, om det finns skäl därtill, bestämma att en tvist, i stället för att prövas av domstol, ska avgöras av skiljemän med tillämpning av följande skiljeklausul: Tvister som uppstår i anledning av dessa allmänna köpevillkor och eventuella individuella ändringar och tillägg till dessa ska slutligt avgöras genom skiljedomsförfarande administrerat av Stockholms Handelskammares Skiljedomsinstitut (SCC). Regler för Förenklat Skiljeförfarande ska tillämpas om inte SCC med beaktande av målets svårighetsgrad, tvisteföremålets värde och övriga omständigheter bestämmer att institutets Skiljedomsregler ska tillämpas. I sistnämnda fall ska SCC också bestämma om skiljenämnden ska bestå av en eller tre skiljemän. Skiljeförfarandets säte ska vara Stockholm. Språket för förfarandet ska vara svenska. Vid bedömningen om det finns skäl att hänskjuta en tvist till avgörande av skiljemän ska UAK beakta bl.a. tvisteföremålets värde, tvistens komplexitet, behovet av ett snabbt och konfidentiellt förfarande och andra sakliga skäl. UAK ska utöva sin rätt enligt denna punkt på ett skäligt sätt. Ikraftträdande Dessa allmänna villkor tillämpas beträffande auktioner som äger rum efter den 1 november 2015. Information om exporttillstånd Enligt lagen (1988:950) om kulturminnen m.m. krävs tillstånd för utförsel från Sverige av vissa äldre svenska och utländska kulturföremål. För utförsel till länder utanför EU kan det även krävas särskilt exporttillstånd enligt Rådets förordning (EG) nr 116/2009 om export av kulturföremål. Tillstånd söks hos Riksantikvarieämbetet, Box 5405, 114 84 Stockholm. UAK tillhandahåller författningstext och ansökningsblanketter. Ytterligare information kan erhållas direkt från Riksantikvarieämbe¬tet. Information finns också på Riksantikvarieämbetets hemsida www.raa.se. Den som för ut kulturföremål från Sverige ansvarar själv för att nödvändiga tillstånd söks och erhålls. Utförsel av kulturföremål utan tillstånd innebär brott mot lagen (2000:1225) om straff för varusmuggling och kan, om brottet bedöms som grovt, leda till upp till sex års fängelse. Kulturföremål som olagligt förs ur landet kan dessutom förverkas till svenska staten. Vissa tillståndsgivande myndigheter gör i samband med vissa auktioner en förhandsbedömning av vilka föremål som kan komma att beläggas med exportförbud om tillstånd härtill söks. Denna be¬dömning är att se som en ren serviceåtgärd och bedömningen är inte bindande för tillståndsmyndig¬heterna. Det bör noteras att exporttillstånd måste sökas för alla tillståndspliktiga kulturföremål som ska föras ut ur landet oavsett om de åsatts preliminärt exportförbud eller inte. Exporttillstånd måste således sökas för föremål som faller inom lagstiftningens tillämpningsområde, även om de inte åsatts något preliminärt exportförbud. Även om de förhandsbedömningar som i vissa fall görs inte är bindande för tillståndsmyndigheterna, åligger det Budgivaren att bekantgöra sig med de förhandsbedömningar som tillståndsmyndigheterna kan ha gjort. Uppgift om vilka föremål som åsatts preliminärt exportförbund redovisas på UAK:s hemsida vartefter UAK får information om tillståndsmyndigheternas bedömning. Sådan information erhålls ibland först i nära anslutning till att aktuell auktion ska ta sin början.

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Uppsala centralstation

uppsalakontoret

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Telephone

Öppettider: vardagar kl. 13.00 - 17.00, onsdagar 13.00 - 19.00

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Visiting adress

Tel: +46 (0) 18 12 12 22 ga

Besöksadress: Dragarbrunnsgatan 73, 753 20 Uppsala

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Opening hours: Monday - Friday 1 pm - 5 pm, Wednesdays 1 pm - 7 pm

E-mail: mail@uppsalaauktion.se

Stockholm office

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gatan

Besöksadress: Nybrogatan 20, Stockholm

gatan

Regerings

Norrlands

Stockholmskontoret

Nybrogatan

Visiting adress

Hamngatan

Berzelii park

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Nybroviken Kungsträdgården

väg

Tel: +46 (0) 8 611 12 22 Telephone

Öppettider: måndag - torsdag, kl. 10.00 - 17.00. Lunchstängt 12.00-13.00 Opening hours: Monday - Thursday 10 am - 5 pm. Closed for lunch 12 noon - 1 pm

Göteborgskontoret

Järnvägsstationen

Gothenburg office Gamla Ullevi

Kungsportsplatsen

Ullevi

Besöksadress: Kungsportsavenyen 41, Göteborg Visiting adress

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Tel: +46 (0) 31 16 12 12

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Götaplatsen

Öppettider: måndag - onsdag kl. 12.00 - 17.00 Opening hours: Monday - Wednesday 12 noon - 5 pm

please note that viewing and collection of purchased lots is only available at our head office in uppsala.

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pris: 200 sek

dragarbrunnsgatan 73, uppsala, sweden. tel +46 (0)18-12 12 22, fax +46 (0)18- 14 80 97 www.uppsalaauktion.se