Asian sale 12 june by Uppsala Auktionskammare

ceramics and works of art

12 june 2015

asian sale

internationell kvalitetsauktion

important sale 9 - 12 june 2015 preview in stockholm at Nybrogatan 20, Stockholm

friday saturday sunday monday tuesday wednesday thursday friday saturday sunday

22 may 23 may 24 may 25 may 26 may 27 may 28 may 29 may 30 may 31 may

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

viewing in uppsala at Dragarbrunnsgatan 73, Uppsala

12 june 2015

ceramics and works of art

asian sale

internationell kvalitetsauktion

11 juni 2015

modernt

9 - 10 juni 2015

klassiskt

internationell kvalitetsauktion

thursday 11 june at 12 noon modern sale

internationell kvalitetsauktion 12 june 2015

tuesday & wednesday 9 - 10 june at 12 noon classic sale

3 june 1 pm ‑ 7 pm 4 june 1 pm ‑ 5 pm 5 june 1 pm ‑ 5 pm 6 june 11 am ‑ 5 pm 7 june 11 am ‑ 5 pm

uppsala auktionskammare

internationell kvalitetsauktion

wednesday thursday friday saturday sunday

friday 12 june at 10 am asian sale

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

asian sale friday 12 june 2015

the sale for this catalogue will be conducted on friday 12 june 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 24 June 2015.

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

Fabian Arnheim‑Olofsson Vice VD Vice CEO olofsson@uppsalaauktion.se

Julia Unge Sörling Assistent Junior Specialist sorling@uppsalaauktion.se

Charlotte Johansson Ekonomi Accounts c.johansson@uppsalaauktion.se

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

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Knut Knutson Expert Head Specialist mail@uppsalaauktion.se

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Maria Nolin Receptionist Receptionist nolin@uppsalaauktion.se

Charlotte Widenfelt Intendent Specialist widenfelt@uppsalaauktion.se

Josefin Nordgren Assistent Assistant nordgren@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

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

Betalning

Avhämtning

Transport - ArtMove

Payment

Collection

Shipping - ArtMove

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

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kundtjänst Services

Property from the collections of Erik Wirén Lots 700 - 712

Introduktionssida Erik Wirén

700. Five small bronze objects. A miniature bronze beaker vase of slender elongated form, the finely cast body flaring to a wide foliate edged trumpet mouth and tapering to a splayed foliate-edged foot, the slender body entwined with a raised chilong, above the foot an incised pattern echoing the foliate foot rim, repeated on the underside of the mouth rim, the base plain, the bronze of a warm caramel-brown colour suffused with dark green. Period: 17th/18th Century. A bronze incense burner of bulbous form with raised border, resting on three cabriole legs, the exterior encircled by two fiveclawed dragons in relief, their writhing bodies with well delineated scales. Period: 18th Century. A miniature bronze archaic vessel, Zun, of archaic zun form with a central raised section, the body studded with turquoise, together with a bronze water dropper in the form of a tortoise and a tripod vessel with lug handles. Period: 17th / 18th Century. Height: 5,5 cm - 11,5 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Erik Wirén (1877‑1958), thence by descent.

701. A collection of archaic bronze objects. Length: 5,5 - 34 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Erik Wirén (1877‑1958), thence by descent.

702

702. A small gilt bronze Ming paperweight. The fine and realistically cast figure of the immortal Liu Hai depicted as the young immortal, lying at ease, loosely clad in a robe that opens to show his chest and rounded belly, with one foot protruding from beneath the robe, he supports his head with one arm, smiling down at his companion the threelegged toad, who rests on his robed body, at the immortal’s waist a double gourd is tied, incised on his back a fourcharacter mark of Xuande. On a later wood stand. Period: Late Ming. Length: 9 cm.

703

/ 20.000 - 30.000 / / 2 2.100 - 3.200 / Provenance: Erik Wirén (1877‑1958), thence by descent. These small figures were used as paperweights on the scholar’s table. There are many versions of the story of Liu Hai and his three-legged toad companion, but what they all share is that, as a reward for his friendship, the toad reveals the secret of eternal life to Liu Hai. Holding the toad also enabled him to travel anywhere in the world instantaneously. Liu Hai is the immortal associated with financial success, he is often portrayed with the threelegged toad and a string of cash.

703. A bronze incense burner. Formed as a bamboo trunk entwined by a bamboo branch, the base with a four character mark of Xuande. Period: 17th / 18th Century. Height: 12,5 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: Erik Wirén (1877‑1958), thence by descent. For condition reports visit: www.uppsalaauktion.se

704

706

705

707

704. A jade shou-character (longevity plaque). Of oblong form, finely carved with auspicious symbols, a bat hanging upside down clasping a stylised shou-character, twin fish to one side and a covered vase on the other side on a scrolling leafy background. Length: 7 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Erik Wirén (1877‑1958), thence by descent.

705. A jade disc, bi. Of celadon and russet tones, unusually decorated with a leaping carp, the back with an incised scrolling decoration. Diameter: 5 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: Erik Wirén (1877‑1958), thence by descent.

706. A reticulated jade ‘dragon’ plaque. Of oval form, in pale celadon green and russet tones, the front face of the plaque finely carved with a writhing three-clawed winged dragon in high relief , the russet tones of the jade used to show his scaly body and face, he is rising up from crashing waves and surrounded by clouds, all on a reticulated ground. Length: 7,5 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Erik Wirén (1877‑1958), thence by descent.

707. A jade plaque. Of oblong form carved with two deer in amongst old trees with gnarled trunks, one deer, head raised towards the leafy branches, the other his head turned also reaching to the leaves, the jade of russet tones. Length: 7,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: Erik Wirén (1877‑1958), thence by descent.

708

710

709

708. A rectangular jade belt buckle. Carved with decoration of a maiden, behind her a boy attendant carrying a large lotus flower, a bat hovers above, the scene framed by flowering branches, on the reverse side the buckle fixture carved as a dragon head, of even pale celadon colour. Length: 8 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

710. A jade rectangular shaped plaque. Carved with an old man seated, a wine glass raised in his hand in a rocky landscape, the reverse with calligraphy, the stone of even pale colour. Length: 4,5 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Erik Wirén (1877‑1958), thence by descent.

Provenance: Erik Wirén (1877‑1958), thence by descent.

709. A carved jade figure of a phoenix. The celadon-tinged stone of even colour and carved in the form of a long plumed phoenix with its head turned towards its back, grasping a high-relief branch of peony, the long tailfeathers cascading behind in C-shaped curls. Length: 9,5 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: Erik Wirén (1877‑1958), thence by descent.

For condition reports visit: www.uppsalaauktion.se

711

712

711. A collection of seven snuff bottles. An agate snuff bottle with coral stopper; an inside-painted snuff bottle decorated with the eight horses of Wang Mu; a plain white jade snuff bottle with lines of calligraphy; a four-colour peking glass snuff bottle decorated with flowering branches; a glass snuff bottle modelled as a double gourd with raised decoration in green of flowering plants; an inside painted snuff bottle decorated with a rider in a mountainous landscape, the reverse with carp in a watery landscape and signed; and a purple glass snuff bottle with fixed ring handles. Height: 5cm‑8 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Erik Wirén (1877‑1958), thence by descent.

712. A rare Ming miniature ritual wine vessel, you. Of archaistic form, the baluster body on a raised flaring foot, the slightly domed cover with a plain finial, the exterior encircled with two raised horizontal bands, repeated on the cover and foot, the entwined rope handle attached to the body with rings, the patinated bronze of a rich warm caramel brown colour, the base and the inside cover with labels attached reading ‘Kinesiska Utställningen Stockholm 1914 M n:r 426’ (Chinese Exhibition Stockholm 1914 M no 426). Height: 12,5 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / Provenance: Erik Wirén (1877‑1958), thence by descent. Label: Kinesiska Utställningen Stockholm 1914, M n:r 426. Exhibited: Kinesiska utställningen, Stockholm 1914. For a gilt bronze incense burner with the same horizontal bands, see the Smithsonian institution, gift of Arthur Sackler, S1987, 341a-b.

713. An unglazed pottery figure of a polo player. The figure clad in a tunic and pants with his right arm raised, on a spirited leaping horse. Period: Tang. Height: 25 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / Thermoluminescence Analysis Report sample No C112c50 from Oxford dated 11 April 2013 included.

714. An unglazed painted pottery figure of a polo player. The moustachioed figure clad in a tunic and pants with his right arm raised, on a spirited leaping horse. Period: Tang. Height: 27 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / For condition reports visit: www.uppsalaauktion.se

715

715. A painted pottery figure of a Bactrian camel. The unglazed animal boldly modelled with the head thrown back and turned slightly to the left, the mouth open baring its teeth, standing foursquare on a rectangular base, the tail moulded and curved, wearing a simple saddle blanket across the back and the humps, traces of red pigment throughout. Period: Tang. Height: 47 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Thermoluminescence Analysis Report sample No C204b77 from Oxford dated 11 September 2012 included.

716

716. A pair of unglazed pottery figures of female dancers. Modelled swaying in movement, wearing long robes in folds around their bodies, each with their round faces rouged and with full cheeks, double chins and finely pencilled eyes and mouth framed by a tall chignon leaning to one side of their heads, all with remnant of pigment in soft tones of salmon, peach, white, green and black. Period: Tang. Height: 24 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: A private Swedish collection formed in the 1970´s, thence by descent. Thermoluminescence Analysis Report sample No C113j94 from Oxford dated 6 October 2013 included.

717

717. Two unglazed pottery figures of a groom and a female dancer. The groom modelled standing on a small rectangular base wearing a short jacket and a scarf cap, the female dancer modelled in movement wearing long robes in folds around her body covering her hands, each figure with round faces and full cheeks and finely pencilled eyes and mouth, with remnants of coloured pigment. Period: Tang. Height: 24,5 - 26,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: A private Swedish collection formed in the 1970´s, thence by descent. Thermoluminescence Analysis Report sample No C114h66 from Oxford dated 25 July 2014 included.

718. Eight pottery figures of seated musicians. Modelled as eight male and female musicians seated on a curved stand, each with their robes draped in folds around their bodies, one figure playing the pan flute, one the sheng, one a flute, another figure playing the qin, two figures playing the pipa, one a small drum, and one the cymbals, each of the female musicians with various high chignons or coiffed hair, one with a bird decoration on top of her head and the male musicians with tall headdresses, all with traces of coloured pigment. Period: Tang. Height: 19 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: A private Swedish collection formed in the 1970´s, thence by descent. Thermoluminescence Analysis Report sample No C114h65 and C114h64 from Oxford dated 25 July 2014 included. Ensembles featuring female musicians often served as a musical bridge between the elite and popular culture. As expert musicians, they were often musical innovators. The highest-rated musicians at the Tang court always performed seated while the lower ranks played standing. Compare with an ensemble of four seated female musicians in the collection of the Metropolitan Museum of Art, New York, Accession number 23.180.4, and another group of female musicians in the Ashmolean Museum, Oxford, museum no. EA 1991.57‑62. Also compare with a group of male musicians from the National Museum of Chinese History, Beijing, excavated in Xi’an, Shaanxi Province in 1995.

719. Four seated unglazed pottery figures. Modelled as three female figures with variously coiffed hair and one male wearing a scarf cap, each with their robes draped in folds around their bodies, one with her long sleeves covering her hands, all with traces of pigment. Period: Tang. Height: 19,5 - 20,5 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: A private Swedish collection formed in the 1970´s, thence by descent. Thermoluminescence Analysis Report sample No C114h67 from Oxford dated 25 July 2014 included. For condition reports visit: www.uppsalaauktion.se

720

721

720. A group of pottery figures and a pottery animal. Modelled as five standing figures of various sizes and a recumbent boar. Period: Tang. Height: 10‑22 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: Erik Wirén (1877‑1958), thence by descent.

721. A painted pottery figure of a standing court lady. The fully formed figure shown standing wearing a full robe with her upturned slippers peeking out from beneath the folds of her long robe and a long scarf draped over her shoulders, her hands held in front of her chest and her round face rouged and with full cheeks, a double chin and finely pencilled eyes and mouth framed by a centred tall chignon, all in soft tones of salmon, peach, white and black. Period: Tang. Height: 64 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Compare a similar figure in the Boston Museum of Fine Art, illustrated by Fontein and Tung Wu, Unearthing China’s Past, no. 89; Prodan, The Art of the T’ang Potter, no. 63; and Sekai Toji Zenshu, vol. 9, p. 216, fig. 142. Also compare with a well-known unglazed matron holding a pug dog, illustrated as colour plate 29, Ceramic Art of the World (Shogakukan), vol. 2. Other examples of fat ladies can be found in Mayuyama, Seventy Years, vol. 1, pl. 180; The Quest for Eternity – Chinese Ceramic Sculptures from the People’s Republic of China, Los Angeles Exhibition, 1987, Catalogue, nos. 83 and 84; and one exhibited at the Epcot Centre, Florida, A Thousand Years of Tomb Art, Catalogue no. 20.

Property from the collections of Tage Grönwall Lots 722 - 736

722

722. A celadon stem cup. Of elegant form the tall ribbed stem rising to a round bowl carved to the body with a lightly incised design, the red body revealed where the glaze stops at the foot, the rim with a metal mount. Period: Ming. Height: 12,5 cm. / 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.

723

723. A Korean inlaid celadon oil bottle, and two Korean inlaid celadon bowls. The flattened globular bottle with sharply tapered shoulder to a narrow neck with cupped mouth, inlaid on the body in black and white slip with flowers around the neck bordered by a double band, the wide bowls of shallow form also inlaid on the interior and the exterior in white slip with either floral sprays or roundels and double circular bands. Period: Koryo dynasty. Diameter: 18,5 and 20 cm (bowls). / 4.000 - 6.000 / / 2 430 - 640 / 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.

724

724. A Tenmoku glazed ‘hare’s fur’ bowl. The deep flaring sides with gently inverted rim covered inside and out with a lustrous black glaze streaked with russet ‘hare’s fur’ markings, thinning to russet at the rim and pooling in a line above the shallow foot ring exposing the coarse ware. Diameter: 11 cm. / 5.000 - 6.000 / / 2 530 - 640 / 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.

725. A rare longquan celadon duck-form censer. Modelled as a duck standing atop an openwork rock-work base, with the head turned to the side and upwards, its overlapping left wing removable to reveal an oviform opening in the back, the beak partially open and the base of the tail pierced for the release of smoke, detailed with carved feather markings and covered with a crackled sea-green glaze. Period: Ming. Height: 19 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / 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. Novelty incense burners in the form of birds were first introduced in the Han dynasty and enjoyed a fair amount of popularity in the Yuan, Ming and Qing periods. In Ming Ceramics in the British Museum, London 2001, pp. 498‑9, the author, Jessica Harrison-Hall, illustrates a 12th-13th century bronze duckform incense burner, no. 16:92 (fig. 1) and three Longquan celadon bird-form censers dated 1450‑1550, nos. 16:92 (a pair of water birds), 16:93 (a duck) and 16:94 (a parrot). Harrison-Hall writes that “aromatic incense such as vanilla or aloeswood was burnt in powdered or pellet form inside the cavity and the perfumed smoke emerged through the bird’s beak and bottom.” Compare cf. the Eumorfopoulos example, Catalogue, vol.2, pl. XXXV, no B135. For condition reports visit: www.uppsalaauktion.se

726

726. A carved Southern celadon dish. Carved with flowering blossoms, applied overall with a light olive-green glaze. Period: Ming. Diameter: 31 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / 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.

727

727. 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. / 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.

728. A Chinese blue and white bowl. The deep rounded sides rising to a gently flared rim, decorated around the exterior with a continuous figurative scene set below a geometrical band, the interior with a large writhing full frontal dragon chasing a flaming pearl and a coin-pattern band around the interior rim, the base with a square pseudo mark. Period: possibly 17th Century provincial. Diameter: 21 cm.

728

/ 6.000 - 8.000 / / 2 640 - 850 / 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.

729. A Chinese blue and white bowl. The deep sides rising from a short straight foot to a wide rim, decorated on the exterior in shades of cobalt blue with a continuous scene set in a terraced garden with deer roaming amongst trees and shrubbery, birds in the sky and two cranes flying amidst swirling clouds, set in between double circular bands around the rim and the foot, the interior with a central roundel painted with a fruiting peach spray. Period: 17th Century. Diameter: 22 cm.

729

730

730. Two small Kraak dishes. Provincial, together with five blue and white dishes. Period: First half 17th Century. Diameter: 14,5‑15 cm. / 4.000 - 6.000 / / 2 430 - 640 / 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. 731

731. An interesting underglaze blue and copper red bowl. Decorated with peaches, finger citrus and pomegranates, square seal mark in blue. Period: 18h Century. Diameter: 20,5 cm. / 4.000 - 6.000 / / 2 430 - 640 / 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.

732

732. Three blue and white dishes. Of round forms, each with a central roundel painted with peach trees upon which a bird perches, the moon above, the bases painted in the centres with square pseudo marks in blue. Period: 17th Century. Diameter: 14,5 cm. / 3.000 - 4.000 / / 2 320 - 430 / 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.

733

733. A fine ‘sky-clearing blue’ monochrome bowl, mark and period of Yongzheng. The white glazed base with a Yongzheng six-character mark in underglaze blue inside double circular lines. Period: Yongzheng mark and period. Diameter: 19,5 cm.

734

/ 30.000 - 40.000 / / 2 3.200 - 4.300 / 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. Receipt dated March 5 1959 from Watanabe & Co Ltd Tokyo for this lot.

734. A blue and white stem bowl. The exterior painted with scrolling flowering lotus, the stem with pendant stylised leaves. Period: Late Ming. Height: 10,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / 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

735 736

736. 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 six-character Xuande reign mark within a recessed panel. Period: 18th Century. Length: 14 cm. / 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.

735. Oriental scroll. Probably Japanese. Ink and watercolour on paper. 104 x 48 cm. / 4.000 - 6.000 / / 2 430 - 640 / 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.

737. A possibly Mongolian gilt bronze figure of white Tara, Zanabazar style. Cast seated in dhyanasana on a double lotus base, the right hand lowered in varadamudra, the left hand raised to the chest in vitarkamudra holding the stem of a lotus blossoming at her shoulder, the palms and soles incised with eyes, clad in diaphanous robes with patterned hems and adorned with beaded jewellery the face with benevolent expression centred by the third eye and surmounted by a five-pointed tiara, the hair in a tall chignon, the base sealed and incised with double-vajra. Period: 18th / 19th Century. Height: 18,5 cm. / 50.000 - 60.000 / / 2 5.300 - 6.400 / Provenance: A private Swedish collection. The open eyes on the palms, sole of feet, and centre of the forehead show the goddess’s active awareness and compassionate engagement with the entirety of the universe; Tara sees and alleviates the suffering of all sentient beings. The imperial art school founded by Zanabazar (1635‑1723), religious leader, artist, and master craftsman, produced some of the finest bronzes in the history of Mongolian art. Characterized by richly gilt surfaces overall, finely modelled and smoothly sloping contours with embellishments limited to borders, full figures standing or seated on an elevated double-lotus base, Zanabazar bronze sculptures exhibit a cohesive style testament to the vision of the great leader. For condition reports visit: www.uppsalaauktion.se

738. A Tibeto-Chinese parcel gilt figure of a standing Bodhisattva. Cast standing on a lotus base wearing a 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, the hands holding stems of lotus flowering at the shoulders, the serene face framed by an elaborate tiara with hair tied in a high chignon, traces of red pigment on the back of the tiara and blue pigment on the hair, the base sealed with a double vajra. Period: 18th Century. Height: 18 cm. / 25.000 - 30.000 / / 2 2.700 - 3.200 /

739. A Tibetan gilt bronze stupa. Cast with a dome rising from a double lotus base and steps and adorned with beaded garlands inlaid with turquoises, a small replacement bodhisattva placed within a niche at the front of the stupa framed by Garuda torana and acolytes and inlaid with turquoises, surmounted by the stepped harmika and tapering parasol with a festooned canopy further inlaid with turquoises and coral, the base sealed and incised with a double vajra. The finial missing. Period: 16th / 17th Century. Height: 15,5 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: Acquired by the present owner around 1970 in Stockholm. Stupas were originally memorial monuments built over the mortal remains of the Sakyamuni, and other important figures. They represent the past and the present, and a symbol of Nirvana. For condition reports visit: www.uppsalaauktion.se

740. A small Tibeto-Chinese gilt bronze figure of a lama. Possibly depicting Tsong Khapa, the lama is cast seated in dhyanasana on a double-lotus base, with hands in dharmachakra mudra, and wearing layered priest’s robes with incised borders and a pointed pandita cap, the figure has a serene smiling expression, with the eyes looking slightly downwards, the base sealed with a double-vajra. Period: 18th Century. Height: 10 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Acquired from Nils Nessim in the early 1960´s.

741. A Tibeto-Chinese bronze figure of Vajrasattva. Seated in dhyanasana on a double-lotus base with one hand held in front of the chest and the other in his lap, clad in a close fitting dhoti with incised hems and beaded jewellery, the serene face surmounted by a tiara flanked by pendant ribbons, the hair in a high chignon, traces of pigment, the base not sealed. Period: 18th Century. Height: 16 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: the Polish diplomat Roman Huzarski (desceased in the 1930´s), thence by descent in the family.

742. A superb Tibetan gilt copper alloy figure of Amitayus. The figure seated in dhyanasana on a beaded double lotus base, with hands in dhyana mudra holding a small crystal ball, wearing elaborate jewellery inlaid with turquoises and coloured stones, including round earrings, necklaces, bracelets, armlets and anklets and dressed in a sanghati, the face with a benevolent expression, cold-painted red lips and centred by an urna, surmounted by a tall tiara also inset with turquoises and hardstones, the black hair cold-painted in a tall chignon with long black tresses falling over the shoulders, a long, flowing scarf creating an areola around the head of the figure, continuing on either side of the shoulder with each end terminating on the lotus base and inlaid with turquoises, the base sealed with a gilt plate engraved with a double vajra. Period: 15th Century or earlier. Height: 17 cm. / 80.000 - 100.000 / / 2 8.500 - 11.000 / Provenance: Court Jeweller Karl Andersson (1865‑1938), thence by descent. For condition reports visit: www.uppsalaauktion.se

743. A Tibetan gilt bronze figure of Buddha Shakyamuni. Seated in vajraparyankasana, the right hand held in bhumisparshamudra, the left in dhyanamudra, wearing a pleated robe draped over the left shoulder and falling in loose folds over his crossed legs, the face in a meditative expression flanked by the long pendulous earlobes, the hair arranged in rows of tight curls covering the domed ushnisha and with traces of blue pigment, marks in red paint written on the back of the figure. Period: 17th / 18th Century. Height: 10 cm. / 6.000 - 8.000 / / 2 640 - 850 /

744. A Tibeto-Chinese bronze figure of four-armed Avalokitesvara. The deity modelled seated in dhyanasana on a double lotus base, the principal hands clasped at the chest, and the secondary hands holding attributes, dressed in long flowing robes, the face with a serene expression and surmounted by a tall crown, with traces of gold lacquer. Height: 12 cm. / 6.000 - 8.000 / / 2 640 - 850 /

745. Gilt bronze figure of a seated Daoist deity. Possibly the God of Literature, Wen Chang, seated in a reverential pose, one hand held across his chest, the other resting on his lap holding a scroll, wearing a long robe draped around the body and finely moulded at the front with a writhing dragon, 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. Period: Ming. Height: 47 cm. / 80.000 - 100.000 / / 2 8.500 - 11.000 / Provenance: Johan Gunnar Andersson (1874‑1960), thence by descent. Acquired in China by J G Andersson in 1910‑1920. Wenchang, the God of Literature, was one of the most popular gods in late imperial China, he was first worshipped as a snake god known as ‘the Viper’ in Sichuan during the Six Dynasties period before rising in prominence and worshipped as part of the imperial cult by the Tang dynasty. From the Song dynasty onward Wenchang revealed himself in anthropomorphic form as a Daoist god and widely worshipped by the literati, particularly by candidates in the civil service examinations. He was also venerated for his powers of healing and exorcism. For condition reports visit: www.uppsalaauktion.se

746

746. A Tibeto-Chinese gilt bronze seated figure of ‘medicine’ Buddha, Bhaishajyaguru. The Buddha is seated in dhyanasana on a double-lotus base, with the left hand in dhyanamudra, and the right hand extended in varadamudra, holding a single myrobalan fruit between the thumb and index finger, the figure wears layered monk’s robes that fall in crisp folds around the body, the face cast with a serene expression, and the hair is dressed in tight curls surmounted by the ushnisha, a three-character mark in Chinese characters: 药师佛, is inscribed in a line on the front of the base, and the sealed base is inscribed with a double vajra. Period: 18th Century. Height: 11 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / Provenance: Aquired by the present owners grandfather, most likely in the 1940’s or 1950’s.

747

747. A Tibeto-Chinese gilt bronze figure of Shadakshari Lokeshvara. Cast seated in dhyanasana on a double-lotus pedestal, his principal hands in anjalimudra, the other pair in mudras, the head crowned with a five-leafed diadem, with traces of red pigment at the back, fronting the double-topknot crowned by the head of Amitabha, and long tresses falling over the shoulders, the hair with traces of blue pigment, the full-face with downcast eyes and gentle smile, the deity is adorned with jewellery, and is wearing an antelope skin tied across the left shoulder and a voluminous dhoti with incised border, the base sealed and engraved with a vajra. Period: 18th / 19th Century. Height: 18 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: Shipbroker Olaf Thoresen (1870‑1937) married to Margit Pettersen (1884‑1966), active in Shanghai from 1900 to the 1920´s, thence by descent. Shadakshari Lokeshvara is the name of the four-armed form of Avalokiteshvara. The name means ’Six Syllable Lord of the World’. The six syllables being the mantra ’Om Mani Padme Hum’. This form is a personification this mantra, whose sound is said to reverberate throughout the universe as the triumphant power of freedom, emerging from the bodhisattva’s infinite vow to liberate all sentient beings. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

748. Two Tibeto-Chinese 18th Century gilt bronze figures of Manjushri and Samantabhadra. The finely cast Manjushri is seated in dhyanasana on a beaded double lotus pedestal base inscribed with his name 文殊菩萨 at the front, with hands held in dharmachakra mudra, the gesture of teaching, while holding slender stems of lotus flowers that rise to the shoulders where one supports a sword, the other a book, he wears an incised dhoti tied at the waist, beaded jewellery, pendent earrings and a jewelled five-point crown that surrounds a topknot, traces of red pigment on his lips and at the back of the crown and blue pigment on his hair, the base sealed and engraved with a double vajra in the centre, the other figure equally finely cast as Samantabhadra also seated in dhyanasana on a beaded double lotus pedestal base inscribed in Chinese characters with his name 普贤王菩萨 at the front, with hands also held in dharmachakra mudra, while holding slender stems of lotus flowers that rise and blossom at the shoulders, he wears an incised dhoti tied at the waist, beaded jewellery, pendent earrings and a jewelled five-point crown that surrounds a topknot, traces of red pigment on his lips and at the back of the crown and blue pigment on his hair, the base sealed and engraved with a double vajra in the centre. Period: 18th Century. Height: 11,5 cm. / 60.000 - 80.000 / / 2 6.400 - 8.500 / Provenance: Formerly in the collection of Harriet Stevers, Helsingborg. Manjushri, or Wenshushili Pusa 文殊菩萨, is the Bodhisattva of Wisdom, a living being who has the intrinsic nature of insight and Samantabhadra, or Puxian Pusa 普贤王菩萨, is the special patron of the followers of the Lotus Sutra, and the deity known as ’He whose bounty is omnipresent’, representing the Buddhist Law and compassion. The two deities are closely associated and Samantabhadra usually appears alongside Manjushri as the acolytes of Sakyamuni, forming a group of known as the three venerables of Sakyamuni. Both are listed amongst the Four Great Bodhisattvas; Avalokitesvara, Manjushri, Ksitigarbha and Samantabhadra, who signify the four virtues, ‘Mercy’, ‘Wisdom’, ‘Vows’ and ‘Conduct’ respectively. For condition reports visit: www.uppsalaauktion.se

749. A bronze figure of Avalokitesvara. Cast seated in dhyanasana on a double lotus base, the hands are held in vitarka mudra, holding the stems of lotuses blossoming at the shoulders, with a small bird perched on top of one, dressed in a dhoti open at the chest revealing beaded jewellery and various sashes, including the scarf of longevity, the face with bow-shaped mouth, heavy-lidded eyes and gently arched brows, surmounted by a foliate crown centred with Amitabha Buddha, traces of gilding and red lacquer. Period: Ming. Height: 25 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

750. A bronze figure of Guanyin. Cast standing on a small double lotus base with her bare feet protruding from underneath the robes, the slender body dressed in a dhoti with long flowing scarves and elaborate necklaces, the hands holding an attribute in front of her chest, the face with a serene expression below the elaborate tiara fronting a high chignon, surmounted by a figure of Amitabha and flanked by long beaded strands resting on her shoulders. Period: Probably Korea 18th Century or earlier. Height: 22 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

751. A Mongolian gilded and cold painted repoussé copper figure of White Tara. Seated on a double-lotus pedestal with legs crossed in dhyanasana, the hands cast with her right hand extended in varada mudra and her left in vitarka mudra, holding the stems of lotus, blossoming at one shoulder and with finely incised leaves with green pigment painted on the stems sprouting forth at the other, her palms incised with eyes, she is wearing a simple dhoti incised at the hems, clad in a billowing scarf and adorned with necklaces, armlets, bracelets and anklets inlaid with turquoises, coral and hardstones, the face serene with almond-shaped eyes beneath sloping brows, straight nose, and pursed lips, the forehead centered by the third eye, flanked by long-lobed ears pierced and suspending elaborate earrings inset with turquoises, flowing ribbons surmounted by a jewelled tiara again inlaid with turquoises and coral and with the hair pulled into a high chignon, traces of red pigment on the back of her scarf, tiara and the back of the leaves and lotus flower and with traces of blue pigment on her hair. Period: 18th Century. Height: 38 cm. / 100.000 - 120.000 / / 2 11.000 - 13.000 / Provenance: Formerly in the collection of Inger and Börje Bjerkenlöv. The spiritual and compassionate Tara is highly revered in Tibet and Nepal as a female Bodhisattva, and is considered as the Goddess of Universal Compassion and the manifestation of the actions of all Buddhas. Her practice was introduced into Tibet in the 7th century and her popularity was greatly expanded in the 11th century with the arrival of Lama Atisha. There are twenty-one forms of Tara and the two most popular ones are Green Tara and White Tara. The open eyes on the palms, and center of the forehead, as depicted in the present lot, indicate the goddess’s awareness in seeing all and compassion by alleviating the suffering of all sentient beings. For condition reports visit: www.uppsalaauktion.se

752. A Tibeto-Chinese gilt copper alloy figure of a lama. Possibly depicting Tsong Khapa, the lama is cast seated in dhyanasana on a double-lotus base, with hands in dharmachakra mudra, and wearing layered priest’s robes with incised borders and a pointed pandita cap, the figure has a serene smiling expression, with the eyes looking slightly downwards, the base sealed. Period: 18 / 19th Century. Height: 17 cm. / 25.000 - 30.000 / / 2 2.700 - 3.200 / Provenance: The writer and art collector Klas Fåhraeus (1863‑1944) thence by descent.

753. A gilt bronze figure of Avalokitesvara. Seated in dhyanasana with the left hand raised in vitarka mudra, the right hand held in dhyana mudra above the lap, her elbows issuing uptala lotuses supporting a parrot on her left shoulder, dressed in a dhoti open at the chest revealing beaded jewellery and various sashes, including the scarf of longevity, the face with bow-shaped mouth, heavy-lidded eyes and gently arched brows, surmounted by a foliate crown centred with Amitabha Buddha and the hair in a high chignon. Period: Probably Ming. Height: 26 cm. / 25.000 - 30.000 / / 2 2.700 - 3.200 / The bodhisattva is accompanied by the Kalavinka, a bird of Buddhist paradise whose song is described in the sutras as clear and melodious and the most beautiful of all birds. Compare two further figures of Guanyin accompanied by the Kalavinka and cast in a similar style, one with the deity seated in vajraparyankasana, and the other seated in rajalilasana, published in The Chang Foundation, Buddhist Images in Gilt Metal, Taipei, 1993, cat. nos 32 and 33 respectively.

754. A Tibeto-Chinese gilt bronze figure of Amitayus. The deity cast seated in dhyanasana on a beaded double lotus base before an elaborate mandorla, with hands held in dhyana mudra and wearing a sanghati incised at the hems, a flowing celestial scarf and beaded necklaces, armlets and bracelets, his face with a serene expression surmounted by an elaborate tiara and the hair with traces of blue pigment drawn up into a high topknot, with red pigment on the back of the mandorla, the base sealed and inscribed with a double vajra. Period: 18th Century. Height: 17,5 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / Provenance: David Hummel (1893‑1984) took part in Sven Hedins last expedtion to China 1927‑1934 as the expeditions doctor. This lot was acquired at this time.

755. A Tibeto-Chinese gilt bronze figure of Amitayus. Cast seated in dhyanasana on a beaded double lotus base, 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 fiveleaf diadem, traces of colour, the base sealed. Period: 18th Century. Height: 17 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / For condition reports visit: www.uppsalaauktion.se

756. A bronze figure of Guanyin seated on a kylin. Cast wearing long fitted robes, incised at the hems, an elaborate headdress centred by Amitabha and beaded jewellery across the chest and pendant from the waist, the hands holding the stems of lotus flowers that rise to the shoulders where they support on one side a bird, seated on the back of a caparisoned kylin, its head turned upwards facing Guanyin, and supported on a lotus throne. Traces of gold lacquer and colour. Period: Late Ming. Height: 40 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

757. Bronze figure of Samantabhadra seated on an elephant. The bodhisattva is shown seated with legs pendent on the back of a recumbent elephant, and with the hands held in varada and abhaya mudras as they hold the ends of lotus stems that rise to the shoulders where they support a scroll and a book, the figure is wearing beaded jewellery and a jewelled crown, traces of gold lacquer. Period: Probably Ming. Height: 20,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / The present Bodhisattva is identified as Samantabhadra, or Puxian Pusa. The deity is known as ’He whose bounty is omnipresent’ and represents the Buddhist Law and compassion. Samantabhadra is associated with Manjusri, or Wenshushili Pusa, Bodhisattva of Wisdom. Samantabhadra usually appears alongside Manjusri as the acolytes of Sakyamuni, forming a group of known as the three venerables of Sakyamuni.

758. A bronze figure of a seated Buddha. Cast seated on a lotus base with three levels of upright petals, in dhyanasana with his hands in the gesture of meditation dhyana mudra, dressed with the robe open at the chest revealing a sash-tide dhoti beneath an incised wanemblem, the borders of the robe incised with floral scroll, the face with downcast eyes and a meditative expression adorned with an urna on the forehead, flanked by long-lobed ears and all below tightly curled hair set in the centre with the ushnisha, the detachable lotus base incised with lines of calligraphy on a flat surface at the back and on some of the adjoining petals and furthermore incised with an inscription on the interior rim of the base. Period: Ming. Height: 46 cm. / 40.000 - 50.000 / / 2 4.300 - 5.300 / For condition reports visit: www.uppsalaauktion.se

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761

759. An 18th / early 19th Century Eastern Tibetan Thangka. Karma Gadri style. Arhat. Measurements: 80 x 53 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Axel Lagrelius (1863‑1944). Thence by descent. Saraswati was the goddess of art and wisdom. Arhat - possibly Kanaka Bharadvaja or Cudapanthaka.

760. A sandstone head of Buddha. Tightly curled hair set in the centre with the usnisha, covered in a dark lacquer with traces of gilding, attached to a wooden plinth. Height: 33 cm (without stand). / 8.000 - 12.000 / / 2 850 - 1.300 / Provenance: Formerly in the collection of Dr Nils Palmgren (1890‑1955). Palmgren was a well known Swedish art historian and art critic. He was attached to the Museum of Far Eastern Antiquities in Stockholm. He travelled to China in 1934 and brought back antiques such as bronzes, jade and ceramics to royal and private collections.

761. A grey schist head of a Bodhisattva. Gandharastyle. Later gilding and colour. Height: 31 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Formerly in a private Swiss collection, sold at Koller Auktionen in 1971.

762. 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. / 80.000 - 100.000 / / 2 8.500 - 11.000 / Provenance: A gift from Nils Nessim. For condition reports visit: www.uppsalaauktion.se

763. A parcel gilt figure of a seated Daoist Deity. The deity, probably the God of Literature, Wenchang, seated in a reverential pose his joined hands holding a hu tablet, wearing multi-layered robes with borders engraved with scrollwork, his face with a serene expression, slender downcast eyes, a straight nose and defined lips sealed above his wispy beard, further framed by trimmed hair extending in two long strands over his pendulous earlobes and cords issuing from his elaborate headdress with his backwards combed hairdress, and looping to form a tasselled torque on his chest. Period: Ming. Height: 32 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 /

764. A Chinese gilt bronze figure of a seated Buddha. Seated in dhyanasana on a beaded double lotus base, with his right hand in bhumisparsa mudra, and left in dhyana mudra, the earth-touching mudra, the dhoti sashed at the waist and the robe falling from the shoulders over the arms and onto the ground, the hems of the dress incised with a scrolling pattern, the bare chest set with the wan symbol of peace, the hair with tightly knit curls with traces of blue pigment, a gold knop over the ushnisha, the face serene with bow-shaped mouth with traces of red pigment and heavy-lidded elongated eyes, flanked by pendant earlobes, the base sealed with a double vajra. Period: Possibly Late Ming or Early Qing. Height: 20 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Shipbroker Olaf Thoresen (1870‑1937) married to Margit Pettersen (1884‑1966), active in Shanghai from 1900 to the 1920´s, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

765. 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

766. A Tibeto-Chinese gilt bronze tantric figure of Guhyasamaja and Sparsavajra. The three-headed, six-armed deity seated in dhyanasana on a 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 incised with floral patterns and adorned with armlets, bracelets and elaborate foliate tiaras, traces of red pigment on the back of the tiaras, the attributes and jewellery and blue pigment on the hair collected in high chignons, the base sealed. Period: 18th Century. Height: 11,5 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: Adolf Fonahn (1873‑1940) acquired this lot in 1918 whilst traveling to Asia, thence by descent. 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 threefaced, six-armed deity embraces his consort Sparsavajra and holds the diamond sceptre and priests-bell in his principle hands. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

767. A Tibetan gilt copper alloy figure of Amitayus. Finely cast seated in dhyanasana on a double-lotus base with beaded rim, cradling the overflowing kalasa in his lap, adorned with abundant jewellery inlaid with turquoises and coral, his lower body clad in a smoothly fitted dhoti secured with a beaded belt, the face serene with almond-shaped eyes beneath sloping brows, straight nose, and pursed lips, the forehead centered by an urna inlaid with a turquoise, flanked by lotus earrings and flowing ribbons surmounted by a jeweled foliate tiara again inlaid with turquoises and coral, the hair pulled into a high chignon. Height: 11 cm. Period: 15th / 16th Century. / 50.000 - 60.000 / / 2 5.300 - 6.400 / Provenance: Formerly in the collection of Inger and Börje Bjerkenlöv, acquired in London in 1977. For condition reports visit: www.uppsalaauktion.se

768. A rare and fine Tibetan gilt bronze figure of four-headed Sarvavid Vairocana. The four-headed deity cast seated on a double lotus pedestal in dhyanasana and displaying the gesture of meditation, Samadhi or dhyana mudra, holding a dharmacakra, ‘the wheel of the doctrine’ with both his hands, repeated as a motif of the earrings, his faces with downcast eyes and meditative expressions with an urna on the foreheads, he is clad in a cloth tied by a belt around the hips and carries a shawl across his shoulders, he is wearing bejewelled ornaments inset with malachite, coral, jade and carnelian, namely three-leaved crowns, the circular earrings, a necklace, and bracelets on the upper arms and wrists, the base with scrolls inside. Period: 16th / 17th Century. Height: 13 cm. / 50.000 - 60.000 / / 2 5.300 - 6.400 / Provenance: Orvar Karlbeck (1879‑1967), thence by descent. The four-headed Sarvavid Vairocana in Samadhi-mudra is the chief deity in the Sarvavid Vairocana Mandala, the root mandala of the Sarvadurgatiparisodhana Tantra. References to the iconography of Vairocana can be found in Mallmann, M-T. de. 1975. Introduction à l’iconographie du tântrisme bouddhique, pp. 392‑95. Chandra, L. (ed.). 1991. Buddhist Iconography, no. 2279 (76) of the Three Hundred Icons (sKu brnyan sum brgya) [2204‑2503]: Sarvavid (Kun rigs). Richardson, H.E. 1990. “The Cult of Vairocana in Early Tibet”, Indo-Tibetan Studies, ed. by T. Skorupski, Buddhica Britannica, Series Continua, Vol. II. pp. 271‑74. Compare with a similar four-headed figure in Ulrich von Schroeder, Buddhist Sculptures in Tibet, vol. 2, Hong Kong, 2001.

769. A Sino-Tibetan gold lacquered bronze bodhisattva, probably Manjushri. Cast seated in vajraparyankasana the left hand raised to the chest in abhaya mudra, the right hand lowered in varada mudra, both hands holding lotus stems that issue along the elbows to the shoulders blossoming out into lotus flowers (Padma), the figure clad in a flowing dhoti secured by a pendant beaded belt and wearing a shawl over the shoulders that is wrapped around the lower arms and dhoti to fall in folds over the lotus base, the bare-fronted torso festooned with jewelled chains radiating from further strands of jewels forming the central collar, the rounded face with downcast eyes and a serene expression, wheel-shaped earrings attached to the pendulous earlobes, the hair swept back in a high chignon crowned with a pointed crown, the figure seated on a double-layered lotus base, with remnants of gold lacquer and red colour. Period: 15th / early 16th Century. Height: 38 cm. / 50.000 - 60.000 / / 2 5.300 - 6.400 / Provenance: Nils Stensrud (1917‑2006), M.D. and art collector, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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770. A Tibeto-Chinese magnificent gilt wood lacquer figure of one of the twelve Goddesses of Tibet. The Goddess seated on an antelope, both arms raised, dressed in a dhoti, she is lavishly attired, bracelets adorn her wrists and ankles, strings of jewels at her neck and waist and a flowing sash, she wears pendulous earrings (one missing), the face is peaceful and serene with arched eyebrows, her hair tightly combed back and surmounted by a foliate crown. Period: 18th Century. Height: 69 cm, Length: 60 cm. / 200.000 - 250.000 / / 2 21.000 - 27.000 / Provenance: Marshal of the Court James (Jemmy) Keiller (1867‑1962), acquired this lot in Paris in the 1920´s, thence by descent. The Tanma Chunyi or the Twelve Goddesses of Tibet is composed of female mountain deities that were indigenous to Tibet prior to the introduction of Buddhism in the 8th Century. They were incorporated into the religion by Padmasambhava as guardian deities, and were subsequently worshipped by the Nyingma, Kagyu and Gelug sects. The Tanma Chunyi were most likely retinue figures accompanying a larger sculpture of Shri Devi Magzor Gyalmo, an important deity in the Gelugpa tradition. Two additional deities from the Tanma Chunyi exist in the collection of the Musée Guimet (see G. Beguin, Tibet, Terreur et Magie, pp. 27 and 29, cat. nos. 4 and 5). Stylistically it would appear that this figure perhaps belongs to the same set as the Guimet sculptures. Iconographically Tibetan they are distinctly Chinese in style. In Chengde (Jehol), the summer palace of the Qing emperors, there were similar figures in the temples. This sculpture was possibly part of a Chinese Imperial commission in the mid-18th Century.

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771. A gold-lacquered bronze figure of a seated Luohan. Cast seated in vajraparyankasana with his hands holding a row of prayer beads above his lap, dressed in a voluminous robe draping over his shoulders and falling in loose folds over his crossed legs, his head bald and with distinctive facial features, almond-shaped eyes and a large prominent nose above thick pursed lips, all framed by a pair of long pendulous earlobes. On a wood stand. Period: Ming. Height: 24 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Acquired in Hong Kong in the 1960´s by Sverre Rödskog, who lived there from 1961, thence to the present owner. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

772. A wood figure of a seated Budai. Seated on an oval pedestal with the right knee raised, upon which rest the right hand, holding a small bowl in his left hand, wearing a loose robe falling off the shoulders and open at the front to reveal his full belly, his face with a hearty laughing expression, a bald head and pendulous earlobes. Period: Probably 19th Century. Height: 72 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / The monk Budai, also known as the Laughing Buddha, is an incarnation of the Bodhisattva Maitreya, the Buddha predicted to succeed Gautama Buddha in the future. Typically depicted with a joyful expression and wearing loose fitting robes to reveal his plump stomach representing contentment and abundance, Budai is also associated with the protection of children and is often shown with small children playfully climbing on his belly or back.

773. A Tibetan/Nepalese gilt copper alloy figure of Manjushri. Cast seated in dhyanasana on a beaded double lotus pedestal base, with hands held in dharmachakra mudra, the gesture of teaching, while holding slender stems of lotus flowers that rise to the shoulders where one supports a sword, the other a book, he wears an incised dhoti tied at the waist, beaded jewellery, pendent earrings and a jewelled crown that surrounds a topknot, all inlaid with turquoises, traces of blue pigment on his hair, the base sealed. Period: 15th / 16th Century. Height: 13 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: A private Swedish collection since the 1960´s.

774. A Tibetan/ Nepalese Tantric gilt copper alloy figure of four-armed Chakrasamvara and Vajrayogini. Cast standing with Chakrasamvara tightly embracing his consort Vajrayogini who has one leg wrapped around his hips, both figures wearing elaborate crowns and holding the attributes that symbolise their power, including for Chakrasamvara a vajra, a prayer bell and a damaru drum, and for Vajrayogini, who wears a beaded girdle, a vajra chopper and a skull bowl, between their legs a long garland of severed human heads hangs down. Period: Probably 15th / 16th Century. Height: 17 cm. / 40.000 - 50.000 / / 2 4.300 - 5.300 / For condition reports visit: www.uppsalaauktion.se

775. A bronze Tibeto-Chinese tantric figure of Guhyasamaja and Sparsavajra. Cast in two parts on a lotus base with the three-headed, six-armed deity seated in dhyanasana and 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 his six-armed consort with her hands in various mudras, both wearing long flowing dhotis incised with floral patterns and adorned with armlets, bracelets and elaborate foliate tiaras, their hair swept up in high chignons, the seven character reign mark reading Da Qing Qianlong nian jing zuo cast in relief in a horizontal cartouche on the front of the lotus base within a triple beaded border, the base not sealed. Period: Qianlong. Height: 19 cm. / 200.000 - 300.000 / / 2 21.000 - 32.000 / Provenance: Shipbroker Olaf Thoresen (1870‑1937) married to Margit Pettersen (1884‑1966), active in Shanghai from 1900 to the 1920´s, thence by descent. The Qianlong emperor was a devoted Buddhist and a keen follower of Tibetan Lamaist teachings. He had bronze figures of the many deities in the Tibetan Buddhist Pantheon made in the Palace Workshop as gifts for the Tibetan hierarchy or to be enshrined in the numerous Buddhist halls built within the Forbidden City, such as the Baoxianglou and the Fanhualou. It is recorded that in the Fanhualou alone, built by Qianlong in 1772, that there were 786 images enshrined there. Other examples of different deities with Qianlong seven-character marks, from the Qing Court collection and still in Beijing, are illustrated in Cultural Relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992. Helmet Uhlig discusses this type of figures in On the Path to Enlightenment, The Berti Aschmann Foundation of Tibetan Art at the Museum of Rietberg, Zurich, 1995, pl. 110, and we quote: “In the Tantric Buddhism of the Himalaya region, the Vajrayana, we find Tathagatas and Bodhisattvas in many variations: multi-headed and many-armed, also in sexual embrace (yab-yum) with their female consorts (prajna). In this form they are part of the large group of initiation and tutelary deities – the Yi-dams. Some of them are figurative representations of the great Buddhist tantras that emerged in India between the 5th and the 12th Century as scriptures of wisdom. The oldest is the Guhyasamaja-Tantra (“Secret Union”) that is personified in this Tibetan statue as the Yi-dam Aksobhyavajra Guhyasamaja (Tib. gSang-ba-’dus-pa) in the “father-mother position” (yab-yum). The Yi-dam is also at the centre of the guhyasamaja mandala. Both three-headed figures tightly embrace each other with three pairs of arms each and both hold in their main hands crossed behind the partner’s back the vajra and ghanta as symbols of the male and the female – symbols of the enlightenment arising out of absolute emptiness and of the wisdom leading to it.” 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

776. 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. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Shipbroker Olaf Thoresen (1870‑1937) married to Margit Pettersen (1884‑1966), active in Shanghai from 1900 to the 1920´s, thence by descent. Weituo appears in Buddhist temples as the ’Entry Guardian’. He leads the thirty-two heavenly generals who come under the Four Heavenly Kings and has earned such titles as the ’Protector of the Buddhist Faith’, the ’Protector of Monasteries’ and the ’Protector of Dharma Books’. In all temples where his image is found, he is always placed with his back to the statue of Maitreya Buddha so that he faces the Main or Grand Hall where the principal deities of the temple are enshrined. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

777. Two bronze figures of standing Daoist deities. Each modelled standing wearing long robes with incised patterns and holding attributes in their hands, one also carrying an implement on his back and a flywhisk hanging around his wrist, both with long wispy beards and moustaches and tall headdresses, traces of gilt. Period: Early 20th Century. Height: 42 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Shipbroker Olaf Thoresen (1870‑1937) married to Margit Pettersen (1884‑1966), active in Shanghai from 1900 to the 1920´s, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

778. 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).

779. Pair of Chinese bronze figures of attendants. Both cast standing on hexagonal bases, wearing dhotis tied at the waist revealing their bare chest and rotund stomachs, and each with a long flowing scarf and sashes across the bare chest, their bearded and moustachioed faces with jolly expressions, bright eyes below bushy eyebrows, each figure with one arm held aloft supporting a quatrefoil vessel resting on top of their heads. Period: Probably Ming. Height: 29 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Shipbroker Olaf Thoresen (1870‑1937) married to Margit Pettersen (1884‑1966), active in Shanghai from 1900 to the 1920´s, 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

780

781

780. A finely carved hardwood stand. Finely and deeply carved with realistically modelled crashing waves from which emerges a succession of creatures of the sea including leaping carp, tortoises, conches and crabs, all resting on a shaped panel incised around the rim with key-pattern and supported on small cabriole legs. Period: 18th / 19th Century. Length: 39 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: A gift from Nils Nessim.

781. A carved hardwood model of a shou-character. The front face ornately carved in relief with Shoulao seated, in the centre of the character, on a cloud holding his ruyi-sceptre and with his deer recumbent below, surrounded all over by the immortals, ladies and children in a busy tree-lined landscape, the back incised throughout with numerous shou-characters and with a small stand attached by a metal clasp on to which a longer stand attaches pierced and carved with lingzhi mushrooms. Period: 19th Century. Height: 58 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / 782

Provenance: A gift from Nils Nessim.

782. A Duan inkstone. Of archaistic bell-shape, carved with a full frontal dragon with a large pearl and surrounded by swirling clouds, set between bands of pendant plantain leaves below and dragon and cloud bands above. Length: 16,5 cm. In a wood box. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Acquired by the present owners husband in Hong Kong in the 1960´s-1970´s. This inkstone appears to be of a type known as Duan, considered one of the four most important inkstone materials in China, including She, Chengni, and Tao stones, which first appeared during the Tang dynasty.

783. A large bronze censer. Sixcharacter raised mark of Xuande. Length: 48 cm.

783

/ 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Shipbroker Olaf Thoresen (1870‑1937) married to Margit Pettersen (1884‑1966), active in Shanghai from 1900 to the 1920´s, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

784

784. A large bronze tripod. Raised work dragon, plaque attached, mark, dragons contesting brocaded ball, 3 dragon legs. Height: 33,5 cm, Diameter: 34 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 / Provenance: Shipbroker Olaf Thoresen (1870‑1937) married to Margit Pettersen (1884‑1966), active in Shanghai from 1900 to the 1920´s, 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

785

786

785. A bronze ritual food vessel and cover. With a rounded bowl and domed cover, supported by three cabriole legs, two loop handles on each side, repeated on the cover, both the bowl and cover decorated with concentric bands of stylised dragons interspersed with plain bands, the bronze with a green patina and encrustation. Period: Warring States. Height: 15 cm, diameter: 21 cm. / 25.000 - 30.000 / / 2 2.700 - 3.200 / Provenance: Manager Carl Magnus Friis (1904‑1996), thence by descent. Exhibited: Konstindustrimuseet Copenhagen, ”Kinas konst i svensk och dansk privat ägo 1950”, nr 80. Acquired at Bruun Rasmussen Copenhagen, auction 467, lot 1974. Thence by descent. This type of vessel has been called ding by some scholars and dui by others. It is likely derived from the early type of ding, but became a serving, rather than cooking vessel in the Warring States period.

786. A bronze bowl. Diameter: 15 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Manager Carl Magnus Friis (1904‑1996), thence by descent.

787. A bronze ritual wine vessel, gu. The slender gu has a plain trumpet-shaped neck, the central and lower registers are cast with taotie masks, the central register divided by narrow flanges, the patina of a rich mottled green with areas of bluegreen encrustation. Period: Eastern Zhou dynasty (1027 – 221 B.C.). Height: 24,5 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: Director Carl Magnus Friis (1904‑1996), thence by descent. Acquired at Bruun Rasmussen Copenhagen, auction 467 in 1984. For condition reports visit: www.uppsalaauktion.se

788. A bronze ritual tripod food vessel and cover, ding in the style of Spring and Autumn Period. The rounded body is raised on three cabriole legs and has a pair of angular U-shaped, upright handles. The sides are flat-cast with a wide band of tight interlaced dragon-scroll pattern separated by a rope-twist border from a plain band, the lower register with archaic characters. The pattern is also repeated in concentric bands on the domed cover which is set with three rings. Length: 26,5 cm, Height: 22,5 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 /

789. An archaic bronze ritual tripod food vessel, ding. The deep, rounded sides are raised on three columnar supports, and are cast in low relief with three bands around the body, below a pair of bail handles rising from the rim, the bronze surface with green encrustation. On a wood stand. Height: 20,5 cm, Diameter: 17 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: Erik Tollefsen (1872‑1939) , thence by descent. E. T. arrived in 1895 in China and at first worked for the Chinese Customs office. He later became engaged at the Royal Chinese General Post Office in Shanghai and in 1928 became Post General. Erik Tollefsen became a Mandarin of the highest grade and was also honoured with Chinese orders. 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

790 792

791

790. A jade model of a horse and a white and russet jade ‘squirrel and grapes’ carving. The recumbent beast well carved with his head lowered touching the hoof of his hind leg, his long mane falling on his back, the stone of pale celadon with russet patches. A squirrel is carved clambering over leaves and amongst grape vines. The stone is of a pale tone with some russet inclusions. Length: 4,5‑5,5 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.

791. An amusing pale celadon green carving of a cat. Modelled lying curled up on a lotus leaf, playing with a bumblebee. Length: 6 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / 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.

792. A jade arrow-handled vase, a reticulated jade disc and a jade belt buckle. Of archaistic hu form, the squat body with four rounded edges rising to a galleried mouth rim, decorated with a taotie mask below and above a design of lappets, the neck flanked by a pair of tubular handles. The disc of pale celadon stone carved as a basket with a plant in the form of a shou-character, surrounded by blossoms, the stone of even pale green colour. The dragon belt buckle carved shaft terminating in a dragon head, carved in high relief with a chilong clambering toward the dragon head, the stone of pale celadon colour with russet inclusions. Length: 5,5 cm-8 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / 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.

793

793. A pair of Chinese famille rose bowls and stands. The deep conical sides rising from short straight feet to flaring rims, painted in soft famille rose colours with a continuous scene set in a terraced garden of boys, dressed in short robes, seated or standing, and engaged in various games, a composite floral border around the mouth rims, the bases painted in the centre with a four-character commendation mark in red, ’Lin Zhi Cheng Xiang’ 麟趾呈祥, the stands moulded with flattened rims in the shape of flowers and decorated with composite floral scrolls framed by fleur-de-lys borders around the bowls. Diameter: 11 cm. / 3.000 - 4.000 / / 2 320 - 430 /

794

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.

794. Six famille rose ‘phoenix and dragon’ dishes. Boldly enamelled at the centres with a large iron-red dragon, divided by a central flaming pearl from an exotic long-tailed flying phoenix, all on a ground of scrolling clouds in soft famille rose colours and iron-red flames, the bases painted to the centres with six-character marks of Guangxu in blue. Diameter: 18,5 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

795

795. A pair of Chinese blue and white dishes. Of round forms painted in the Ming-style 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. / 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.

796

796. Twelve Chinese blue and white ‘lotus’ dishes. Of round form and shallow bowls, finely painted in the inner medallions, outer bands, and exterior friezes with lotus scroll in varying tones of underglaze blue, the bases with six-character Guangxu marks in blue. Diameter: 15 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / 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.

797

797. Four Chinese blue and white bowls. The round bowls decorated to the exterior with six panels of flowering lotus on a scrolling ground, the interiors with one lotus flower, a six character Guangxu mark in blue on the bases. Diameter: 17,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / 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. 798

798. 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

799

799. 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. / 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.

800

800. A ‘jun’ splashed vase and a ‘jun’ splashed bowl. The rounded body with a waisted neck flanked by small handles and a galleried mouthrim, covered in a light blue crackled glaze splashed with three copper-red blushes transmuting from misty purple to intense pinkish-red tone, the bowl with a similar crackled glaze with splashes. Height: 13 cm, Diameter: 13 cm (bowl). / 4.000 - 6.000 / / 2 430 - 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.

801

801. A Chinese pewter teapot. With octagonal body and flat cover, each panel of the body decorated in gilt with a figure of an immortal, the cover with a kylin surrounded by auspicious emblems. Period: 19th / 20th Century. Height: 12 cm, Length: 19 cm. / 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.

802. A Chinese blue and white bottle vase. The globular body painted in the Ming style with a broad frieze of composite flower scroll, above lappets and below key-fret on the shoulder, the neck with upright leaves at the base and cresting waves at the top, the base with a six character mark of Qianlong, and another Chinese blue and white bottle vase with a composite lotus scroll and upright plantain leaves, the base with a square seal mark of Qianlong but later. Period: Qing. Height: 21 cm.

802

/ 4.000 - 5.000 / / 2 430 - 530 / 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.

803

803. A pair of Chinese blue and white dragon bottle vases. The baluster bodies each painted with two opposing writhing and scaly five-clawed dragons contesting a flaming pearl, all amidst clouds and flames, the shoulders with a band of ruyiheads, the tall, slightly flared necks decorated with stiff upright plantain leaves, the feet with wavepattern above a scrolling band, the bases with square seal marks of Yongzheng in blue. Period: 20th Century. Height: 25 cm. / 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. For condition reports visit: www.uppsalaauktion.se

804. A Chinese yellowground ‘shoucharacter’ bowl. Of round form, the deep sides rising from a straight foot to a slightly flared rim, decorated on the exterior with large gilded shou-roundels interspersed by red bats outlined in white and highlighted in gold and blue wan-characters also outlined in white, all set on a yellow ground, the white base with a six-character mark of Guangxu in red. Diameter: 18 cm. / 4.000 - 5.000 / / 2 430 - 530 / 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.

805. A Chinese canton enamel yellowground ‘garlichead’ vase. The squat pearshaped bottle-form vase with waisted neck and lobed ’garlic-head’ below the mouth with a straight and narrow lip, all on a spreading stepped foot, decorated around the body in famille rose colours with a fruiting and blossoming branch of peach, all reserved on a bright yellow ground, the white base with a four-character square mark in blue. Period: 19th / 20th Century. Height: 13 cm. / 4.000 - 5.000 / / 2 430 - 530 /

Property from the collections of Karl Wilhelm Gerdhem Lots 806 - 824

806

806. A Chinese gilt-decorated coral-ground famille rose ‘medallion’ bottle vase. Of ovoid form, tapering to a tall cylindrical neck and supported on an unglazed footrim, decorated on the body with three round medallions each painted in soft famille rose colours and depicting the eight immortals, one with a female immortal carrying her fly-whisk whilst riding a polychrome phoenix amidst swirling clouds, each medallion with a gilt border and surrounded by an ornate gilt decoration covering the entire bottle of large lotus, flower-heads and scrolling meanders, all reserved on a rich orange-red ground, the white glazed base painted in the centre with a square seal mark of Qianlong in iron-red on gilt, but later. Height: 20 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

807

807. A Chinese gilt-decorated coral-ground famille rose bottle vase. Of compressed pear-shape tapering to a tall, slender cylindrical neck and galleried rim, decorated on the body and neck with shaped cartouches painted in soft famille rose colours with scenes set in terraced rocky landscapes depicting scholars, ladies and boys engaged in various pursuits, one large cartouche with a group of figures of which two ladies appear to point and throw a small sword up towards a white dog riding a cloud, each cartouche with a gilt border and surrounded by a gilt decoration of scattered flowers and bamboo, all reserved on a rich orange-red ground, the interior in a light turquoise glaze, the base also in a light turquoise glaze and decorated with a square apocryphal seal mark of Qianlong in gold on a red ground. Height: 21 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

808. A Chinese famille rose coralground scraffiato ‘medallion’ bowl. With a slightly flared mouth rim rising from rounded sides and a short straight foot, decorated on the exterior with medallions enclosing figures in landscapes presenting the story of the ‘Cowherd and the Weaver Girl’ painted in soft famille rose colours, all surrounded by floral sprays scattered on a ruby ‘scraffiato’ ground, the interior sides of the bowl painted in underglaze blue with branches and flower-sprays representing the four seasons surrounding a central roundel, the base painted with a sealmark of Daoguang in blue. Diameter: 15 cm.

808

/ 20.000 - 25.000 / / 2 2.100 - 2.700 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent. See a similar example in the Palace Museum, Beijing, illustrated in Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, The Complete Collection of Treasures from the Palace Museum, vol.39, Hong Kong, 1999 p. 242, no. 214. In auction catalogues and older publications these are usually called medallion or Peking bowls, and were used in the Palace, having been sent from Jingdezhen (where they were decorated with underglaze blue and transparent glaze) to the imperial court to be painted with enamel colours. This type of bowl was already popular during the Jiaqing period, reaching a peak, both in quality and quantity, during the Daoguang period. Such bowls were still manufactured in the Guangxu era. During the Daoguang era bowls show very elegant, strongly-coloured incised decoration with feather-like spirals and coloured ornamentation of yellow, pale and dark blue, pink and purple, with white reserves. The white ground of the reserves was painted with symbolic plants and animals or the story of the ‘Cowherd and the Weaver Girl’ (like on the present bowl).

809. A Chinese famille rose rubyground scraffiato ‘medallion’ bowl. With a slightly flared mouth rim rising from rounded sides and a short straight foot, decorated on the exterior with medallions enclosing figures in landscapes presenting the story of the ‘Cowherd and the Weaver Girl’ painted in soft famille rose colours, all surrounded by floral sprays scattered on a ruby ‘scraffiato’ ground, the interior sides of the bowl painted in underglaze blue with branches and flower-sprays representing the four seasons surrounding a central roundel, the base painted with a sealmark of Daoguang in blue. Diameter: 15 cm.

809

/ 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent. See a similar example in the Palace Museum, Beijing, illustrated in Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, The Complete Collection of Treasures from the Palace Museum, vol.39, Hong Kong, 1999 p. 242, no. 214. In auction catalogues and older publications these are usually called medallion or Peking bowls, and were used in the Palace, having been sent from Jingdezhen (where they were decorated with underglaze blue and transparent glaze) to the imperial court to be painted with enamel colours. This type of bowl was already popular during the Jiaqing period, reaching a peak, both in quality and quantity, during the Daoguang period. Such bowls were still manufactured in the Guangxu era. During the Daoguang era bowls show very elegant, strongly-coloured incised decoration with feather-like spirals and coloured ornamentation of yellow, pale and dark blue, pink and purple, with white reserves. The white ground of the reserves was painted with symbolic plants and animals or the story of the ‘Cowherd and the Weaver Girl’ (like on the present bowl). For condition reports visit: www.uppsalaauktion.se

810

810. A Chinese doucai ‘medallion’ bowl. Well potted with flared sides springing from a flat base, finely pencilled in underglaze blue and enameled in yellow, iron-red and green with five roundels containing either flowering or fruiting trees divided by paired upright and pendant fruiting pomegranate sprigs above a band of overlapping leaf lappets around the base, the base with a square seal mark of Daoguang in blue. Diameter: 15,5 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent. This type of bowl appears to be based on a Kangxi prototype, but with rounded sides, examples of which are included in the Qing Court collection, illustrated in The Complete Collection of Treasures of the Palace Museum – 38 – Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, p. 216, no. 197. A Daoguang bowl of this pattern from the Simon Kwan Collection was included in the Exhibition of Imperial Porcelain of Late Qing, Chinese University of Hong Kong, 1983, Catalogue no. 32, and one from the Weishaupt Collection is illustrated by Avitabile, From the Dragon’s Treasure, no. 56.

811

811. A Chinese blue and white ‘medallion’ bowl. Well potted with flared sides springing from a flat base, finely penciled in underglaze blue only with five roundels containing either flowering or fruiting trees divided by paired upright and pendant fruiting pomegranate sprigs above a band of overlapping leaf lappets around the base, the base with a square seal mark of Qianlong in blue. Diameter: 15,5 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent. A Daoguang bowl of this pattern but in doucai from the Simon Kwan Collection was included in the Exhibition of Imperial Porcelain of Late Qing, Chinese University of Hong Kong, 1983, Catalogue no. 32, and one from the Weishaupt Collection is illustrated by Avitabile, From the Dragon’s Treasure, no. 5.

812. A Chinese blue and white 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.

812

/ 3.000 - 4.000 / / 2 320 - 430 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

813

813. 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. For condition reports visit: www.uppsalaauktion.se

814

814. A Chinese famille rose rectangular vessel. The rectangular flaring sides rising from a tall everted foot and flanked by archaic beast handles in light blue, decorated on either side of the body with a quatrefoil panel painted with a figurative landscape scene in soft famille rose colours and reserved on a light green ground scattered with scrolling sprays, the interior and the base in a turquoise glaze apart from a square seal mark of Daoguang in red on white inscribed to the centre of the base. Length: 17 cm. / 6.000 - 8.000 / / 2 640 - 850 /

815

816

Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

815. A pair of Chinese iron-red ‘lotus and bats’ dishes. Of round forms and shallow bowls, decorated on the exterior sides in iron-red with lotus blooms on continuous meandering scrolls, the interiors decorated with five bats in shades of iron-red, the glazed bases inscribed to the centres with square seal marks of Daoguang and possibly period in iron red. Period: Possibly Daoguang. Diameter: 14,5 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

816. A Chinese bronze handwarmer. Of cylindrical form with a swing handle, incised around the body, the open work top with a decoration of a phoenix. Period: 19th / 20th Century. Diameter: 25 cm, Height: 23 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

817. A jade figure of a fish. Period: Early 20th Century. Length: 7 cm. / 6.000 - 8.000 / / 2 640 - 850 /

817

Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

818

818. A jade placque. A mountaineous landscape with a figure in a boat. Peirod: Early 20th Century. Measurements: 12,5 cm x 10 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent. For condition reports visit: www.uppsalaauktion.se

819. A fine 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 in underglaze blue with a square sealmark of Daoguang. 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, 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.

820. A fine 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 in underglaze blue with a square sealmark of Daoguang. Diameter: 13 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / 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, 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.

For condition reports visit: www.uppsalaauktion.se

821. A Chinese scraffiato turquoise-ground vase, yuhuchunping. Of pear-shape form, the body decorated in soft famille rose enamels with a group of men at leisure in a pavilion, all in richly embroidered robes, two men seated at a table taking tea and conversing with a further standing bearded man holding a gnarled staff, an attendant nearby, another two men standing to the left of the table in animated discussion, a young attendant carrying a flower pot, the pavilion filled with baskets of flowers and flower pots, all reserved on a light turquoise scraffiato ground, below a band of cloud formation, the base with an apocryphal seal mark in red of Qianlong. Period: Republic. Height: 32,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

822. A Chinese famille rose yellow-ground bottle vase. Decorated on the body with four roundels painted with landscape scenes, all reserved on a yellow ground with scattered lotus and scroll work, the base with a six-character apocryphal mark of Kangxi in blue. Height: 21 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent.

823. A Chinese famille rose ruby-ground scraffiato ‘medallion’ bowl. With a slightly flared mouth rim rising from rounded sides and a short straight foot, decorated on the exterior with medallions enclosing figures in landscapes presenting the story of the ‘Cowherd and the Weaver Girl’ painted in soft famille rose colours, all surrounded by floral sprays scattered on a ruby ‘scraffiato’ ground, the interior sides of the bowl painted in underglaze blue with branches and flower-sprays representing the four seasons surrounding a central roundel, the base painted with a sealmark of Daoguang in blue. Diameter: 15 cm.

823

824. A Chinese famille rose coral-ground scraffiato ‘medallion’ bowl. With a slightly flared mouth rim rising from rounded sides and a short straight foot, decorated on the exterior with medallions enclosing figures in landscapes presenting the story of the ‘Cowherd and the Weaver Girl’ painted in soft famille rose colours, all surrounded by floral sprays scattered on a ruby ‘scraffiato’ ground, the interior sides of the bowl painted in underglaze blue with branches and flower-sprays representing the four seasointed in underglaze blue with branches and flowersprays representing the four seasons surrounding a central roundel, the base painted with a sealmark of Daoguang in blue. Diameter: 15 cm.

824

/ 3.000 - 4.000 / / 2 320 - 430 / Provenance: Karl Wilhelm Gerdhem (1868‑1932), thence by descent. See a similar example in the Palace Museum, Beijing, illustrated in Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, The Complete Collection of Treasures from the Palace Museum, vol.39, Hong Kong, 1999 p. 242, no. 214. In auction catalogues and older publications these are usually called medallion or Peking bowls, and were used in the Palace, having been sent from Jingdezhen (where they were decorated with underglaze blue and transparent glaze) to the imperial court to be painted with enamel colours. This type of bowl was already popular during the Jiaqing period, reaching a peak, both in quality and quantity, during the Daoguang period. Such bowls were still manufactured in the Guangxu era. During the Daoguang era bowls show very elegant, strongly-coloured incised decoration with feather-like spirals and coloured ornamentation of yellow, pale and dark blue, pink and purple, with white reserves. The white ground of the reserves was painted with symbolic plants and animals or the story of the ‘Cowherd and the Weaver Girl’ (like on the present bowl). For condition reports visit: www.uppsalaauktion.se

825. A Chinese blue and white transitional jar. Of baluster shape, the slightly everted foot rising to a rounded wide shoulder and a short straight mouth rim, decorated around the exterior in shades of cobalt blue with three birds flying above an orchid and amidst bamboo, prunus, budding peony, a naked tree and stylised rockwork. Period: 2nd half of 17th Century. Height: 20,5 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 /

826. A Chinese blue and white flask. Of square form with cylindrical slightly flaring neck and sloping shoulder, each panel decorated with panels of flowers beside stylised rockwork, the shoulder with four stylised ruyi-heads on a key-fret ground. Period: 17th Century. Height: 24 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

827. 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 flower-heads with long leaves on either side, set within double blue lines, the tall neck, with two bands, the lower painted with stylised iznik-like 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

828

828. 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 sixcharacter 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 / 829

829. A Chinese blue and white jar. The rounded sides rising from a straight foot to a small round unglazed neck, decorated around the body in shades of cobalt blue with scrolling branches of flowering peony blossoms, all set in between a band of stylised interlinked ruyi-heads around the base of the neck and a band of upright lappets above the foot, the base glazed. Period: 2nd half of 17th Century. Height: 18 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

830. A Chinese blue and white brushpot. The exterior body vigorously painted with the god of literature clad in loosely fitting robes, holding a writing brush in his right hand and balancing on one foot on the head of a dragon emerging from crashing waves, and kicking with the other foot at the constellation (kuixing) above, stylized rock work and prunus nearby, painted on the reverse with five lines of poetic prose, the lengthy inscription is full of literary sayings echoing the feelings of the god, all set between a double blue band at the rim and at the foot, the glazed base painted to the centre with a four-character mark of Chenghua in underglaze blue, surrounded by a diamond drilled four character mark around the Chenghua mark that reads ”Hu (surname) Qicheng (given name) Tang (a hall)”. Period: Kangxi. Height: 12 cm. / 80.000 - 100.000 / / 2 8.500 - 11.000 / Provenance: Birger Mörner (1867‑1930), thence by descent. Standing on a fish-dragon’s head, he holds up a writing brush in his right hand and kicks the constellation with his foot, representing getting first place in an imperial examination – the dream of every man in ancient days. The inscription is about this dream. Kui Xing, the god of literature is a character in Chinese mythology, the god of examinations, and an associate or servant of the god of literature, Wen Chang. He is said to have been an historical figure, a poor but brilliant student called Zhong Kui who passed the imperial examinations with high honours. However, because he was ugly, he was not allowed to enter government service. In despair, he drowned himself but was carried by a fish-dragon up to heaven where he became a star (’Xing’ in Chinese) of the Great Bear constellation (known in China as the Palace of Literary Genius). For condition reports visit: www.uppsalaauktion.se

The residence in Hong Kong of Mr Arthur Nilsson and Mrs Hill Nilsson.

Interior from the residence in Hong Kong.

Arthur Nilsson in Hong Kong 1904-1920.

831. A Rare Large Yellow- ground Buddhist lion Charger. Of saucer shape with gently rounded sides, the charger decorated in underglaze blue with boldly painted Buddhist lions playing with brocaded balls on a yellow ground, the brocaded balls all with different intricate designs including that of a cash coin, three of the balls with the addition of the colour aubergine, the central lion, his paw on one brocaded ball looking sideways, on the cavetto four buddhist lions two facing forwards the other two looking back over their shoulders encircle the central figure, the reverse with emblems including scrolls and a chime all on a yellow ground, a double channelled foot rim and a white glazed centre with a Kangxi six-character mark in blue. Period: Probably late 19th / early 20th Century. Diameter: 50,5 cm. / 200.000 - 300.000 / / 2 21.000 - 32.000 / Provenance: Engineer and consel Arthur Nilsson (1881‑1967) and his wife Hill Nilsson. They lived in Hong Kong between 1904 to 1920, during which time this lot was acquired. A. Nilsson established the company Nilsson-Lamperski in Hong Kong. Thence by descent. Although the lion is not native to China, its image has long been important to the repertoire of Chinese iconography. Lions are often seen in stone statuary, thus symbolising protection and law, and from the Tang dynasty, appeared on decorative arts. Buddhist lions playing with a brocade ball, which became the most popular form of imagery for the lion, appear later and might relate to the tradition of lion cubs emerging from balls. When used as statuary the pair would consist of a male leaning his paw upon an embroidered ball (in imperial contexts, representing supremacy over the world) and a female restraining a playful cub that is on its back. The decorative motifs on the present charger are boldly executed and it is rare to find Buddhist lions as the main elements to the central medallion in decoration on porcelainprior to the mid 17th century. The origin of the design is perplexing. See a loosely related 17th-century bowl with a design of buddhist lions in roundels on a yellow ground and a Jiajing mark in the Baur Collection, illustrated in John Ayers, Chinese Ceramics in The Baur Collection, vol.1, Geneva,1999, pl.122 [A252]. The Buddhist lion as a central theme would seem to appear more on cloisonné, see for instance a Ming Wanli period cloisonné charger in The Imperial Collection (accession no. GU118611, Palace Museum Beijing illustrate in Compendium of Collections in the Palace Museum. Enamels 2, Beijing, 2011, p. 126, no 94, here three Buddhist lions surround the brocaded ball in the centre of the charger. Compare also with the more stylised gambolling lions in pursuit of brocade balls enamelled on the exterior of a bowl dated to the Jingtai period, also in the Palace Museum, Beijing, illustrated in Zhongguo Meishu Quanji.vol. 10, no. 301.

For condition reports visit: www.uppsalaauktion.se

832

832. Fourteen blue and white dishes. Late Ming, made for export to Japan. Diameter: 14 cm ‑15 cm. In the original wooden box, measurement of the box: Length: 35 cm, Height: 15 cm. Characters on the box: 南京染付中皿二十. / 8.000 - 10.000 / / 2 850 - 1.100 / Oscar Kinnander (1865‑1939), director of Försäkrings AB Skandia 1918‑1930, thence by descent.

833

833. Illustrated books. Edgar Gorer and J. F. Blacker, Chinese Porcelain and Hard Stones Vol. 1 and 2. Limited edition, number 772 of 1000. Edited by Bernard Quaritch, London, 1911. Numerous colored illustrations on 254 plates. Original gilt decorated cloth. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: Engineer and consel Arthur Nilsson (1881‑1967) and his wife Hill Nilsson. They lived in Hong Kong between 1904 to 1920, during which time this lot was acquired. A. Nilsson established the company Nilsson-Lamperski in Hong Kong. Thence by descent.

834. A Hongmu table. A Chinese hongmu tray table with silver inlays. Early 20th Century. Length: 74 cm, Width: 46 cm, Height: 71 cm.

834

/ 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Engineer and consel Arthur Nilsson (1881‑1967) and his wife Hill Nilsson. They lived in Hong Kong between 1904 to 1920, during which time this lot was acquired. A. Nilsson established the company Nilsson-Lamperski in Hong Kong. Thence by descent.

835

835. An impressive bronze censer on a stand. Xuandes mark but later. Length 40 cm, Diameter 31 cm, Height: 14 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: Engineer and consel Arthur Nilsson (1881‑1967) and his wife Hill Nilsson. They lived in Hong Kong between 1904 to 1920, during which time this lot was acquired. A. Nilsson established the company Nilsson-Lamperski in Hong Kong. Thence by descent. For condition reports visit: www.uppsalaauktion.se

836

836. A jun-ware type bowl. Round with splayed foot. With lustrous peacock blue glaze, changing to green, falling short of the foot to reveal the body, the rim with a russet glaze a gold repair at the rim. Diameter: 19 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: A private Swedish collection.

837

837. A Qingbai bowl. Song. Diameter: 17 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: Axel Lagrelius (1863‑1944). Thence by descent.

838

838. A `jun´vase. Period: Possibly Yuan. Height: 13 cm. / 15.000 - 18.000 / / 2 1.600 - 1.900 /

839. A Chinese yellow-glazed incised ’dragon’ dish, mark and period of Daoguang. Shallow rounded sides rising to a slightly everted rim, incised in the centre with a five-clawed dragon leaping amidst clouds and flames in pursuit of a flaming pearl, and on the exterior with two dragons at a similar pursuit, the interior and exterior sides are covered with a glaze of rich yolk-of-egg yellow tone and soft lustre, the white-glazed base painted in the centre with a square seal mark of Daoguang and of the period in blue. Period: Daoguang mark and period. Diameter: 17 cm. / 60.000 - 80.000 / / 2 6.400 - 8.500 / Provenance: Envoyé Gustaf Wallenberg (1863‑1937). Thence by descent in the family. Compare an almost identical example illustrated in Gunhild Avitabile, Von Schatz der Drachen – From the Dragon’s Treasure: Chinese porcelain from the 19th and 20th centuries in the Weishaupt collection, London, 1987, pl. 45, p. 45. For condition reports visit: www.uppsalaauktion.se

840. A blue and white dish. Period: Kangxi. Diameter: 37 cm. / 6.000 - 8.000 / / 2 640 - 850 /

841. A Chinese blue and white bowl. Of hexagonal shape, each flattened panel decorated with flowers issuing from stylised rock work, the base with a Chenghua six-character mark. Diameter: 15,5 cm. / 4.000 - 5.000 / / 2 430 - 530 /

842. A Chinese blue and white bowl. The deep rounded sides rising from a short foot to a flared everted rim, decorated around the exterior sides with a continuous scene set in a rocky landscape with a figure on the shore pointing upwards and facing a further figure seated in a fishing boat on the river, lines of calligraphy, rockwork and swirling clouds divides the scene, the interior with a large roundel painted with a mountainous landscape, the base with a six-character Xuande mark. Period: 18th Century. Diameter: 15 cm. / 4.000 - 5.000 / / 2 430 - 530 /

842

843

843. A large blue and white jar and cover. The jar is sturdily potted with an ovoid body rising to a short waisted neck and decorated with four shaped cartouches enclosing flower and rock compositions, all conjoined by ruyi and flower-head strapwork, reserved on a blue wan patterned ground, the shoulder is further decorated with shaped panels of fruiting branches and a lappet border above the foot. Period: Wanli (1573‑1619). Height: 46 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / For condition reports visit: www.uppsalaauktion.se

844

845

844. A ‘jun’ bowl. The shallow rounded sides resting on a slightly flaring out foot ring, covered overall in a bright lavender blue, the thick glaze finishing unevenly at the foot, thinning to a mushroom tone at the rim. Period: Possibly Yuan. Diameter: 21 cm.

845. A celadon brush washer. Yongzheng mark but later. Diameter: 24,5 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: By descent to the present owner from her grandparents, in their home from the 1950´s.

/ 8.000 - 10.000 / / 2 850 - 1.100 /

846

846. A russet-glaze bowl. Of shallow form rising from a straight foot to a foliate rim, covered overall in a brown glaze. Period: Possibly Song. Diameter: 13 cm. / 5.000 - 6.000 / / 2 530 - 640 /

847. A Chinese blue and white ‘dragon’ stem cup. The shallow bowl with flared rim supported on a hollow slightly tapered stem, decorated on the exterior with two writhing five-clawed dragons amidst clouds and above crashing waves, the centre of the bowl painted with a six-character mark of Xuande inside doublecircles, the interior wall of the hollow stem with a sticker reading: Östasiatiska Museet, Utst. 1964, Nr 90. Period: 17th Century. Height: 11,5 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: In the collection of Gustaf Hilleström, to a private Swedish collection. Exhibited: Museum of Far Eastern Antiquities, Stockholm, 1964, no 90. Illustrated in the catalogue Ming Blue-And-White From Swedish Collections – Exhibition in the Museum of Far Eastern Antiquities, Stockholm, April 25 – June 28 1964, pl. 90, p. 73 and described as thus: “STEM CUP, with everted mouth, on tall foot. Outside decorated with two five-clawed dragons among clouds above waves. Centred inside, six-character Hsüan-tê mark. H. 10.5. Late 16th cent. [From the collection of] Gustaf Hilleström.” For condition reports visit: www.uppsalaauktion.se

848

848. A Chinese biscuit-glazed tripod censer. The globular body on massive short claw feet below a tall upright neck and galleried mouth, applied on one side with a moulded biscuit large flower-head surrounded by foliage covered in yellow and green glaze, flanked by high rectangular arch-handles, applied overall with a green glaze with yellow splashes, the interior unglazed revealing the body. Period: Ming. Height: 23 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: A private Swedish collection.

849

849. Guangdong stoneware figure of Guanyin seated on an elephant. The deity wearing long robes and flowing scarves decorated in coloured glazes, her face in a meditative expression and her hair in a high chignon, she carries a small tray of peaches and is seated upon a yellow-glazed elephant standing four-square with its head turned to the side. Height: 35 cm. / 4.000 - 6.000 / / 2 430 - 640 / Provenance: Wholesaler Ando Wikström, to his son (born 1908), by descent to the present owner.

850

850. A green-glaze vessel and cover, ding. Period: Ming. Length: 26,5 cm, Height: 16 cm. / 5.000 - 6.000 / / 2 530 - 640 /

851. A Chinese mark and period underglaze blue and iron-red ‘dragon’ saucer dish. The shallow rounded sides rising from a small slightly tapered foot to an everted rim, brightly painted to the interior with a central medallion enclosing a scaly five-clawed dragon in iron-red on a crested wave ground in contrasting blue, within a double-line border repeated at the rim, the exterior sides painted with nine iron-red dragons in various poses writhing above a blue tempestuous sea, between a band of demi-florets at the rim and double lines encircling the foot, the base inscribed with a six-character seal mark in underglaze blue of Qianlong and of the period. Period: Qianlong. Diameter: 17,5 cm. / 100.000 - 120.000 / / 2 11.000 - 13.000 / Provenance: Acquired 1923‑1941 in China whilst living in China working as a missionary, thence by descent in the family. Compare to two dishes of this pattern, one illustrated in Ch’ing Porcelain from the Wah Kwong Collection, The Chinese University of Hong Kong, Hong Kong, 1973, no. 70, the other in The Arts of the Ch’ing Dynasty, Oriental Ceramic Society, London, 1964, no. 235. See, also, the example included in Illustrated Catalogue of Old Oriental Ceramics Donated by Mr. Yokogawa, Tokyo, 1953, no. 363. For condition reports visit: www.uppsalaauktion.se

853

854

852

852. A celadon vase. Decorated with cascading blossoms, signed. Period: 20th Century. Height: 32,5 cm. / 3.000 - 4.000 / / 2 320 - 430 /

853. A Celadon vase, hu. The rounded body flanked by animal head handles and carved throughout with scrolling peony branches, covered in an olive green glaze. Period: 20th Century. Height 35,5 cm. / 5.000 - 6.000 / / 2 530 - 640 /

854. A carved celadon vase. Carved on the exterior with dragons amongst scrolling branches, covered in a light green glaze. Period: 20th Century. Height: 20 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: inherited from the present owners family, collected before 1945.

855

855. 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 /

856

856. A Bronze censer. Of compressed form, raised on a short foot, the sides cast with a pair of lion-head handles, the base cast with a six-character mark of Xuande. Length: 13 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Brian Dawson who lived in Shanghai 1922‑1935 and worked for the Swedish company SKF, thence by descent. 857

857. A Ming bronze water dropper in the form of a mythical threelegged toad. The bulbous body realistically depicted with raised bronze work and with the toad cast crouching on its three legs, the back leg turned backwards, the patinated bronze in warm tones of a reddish brown colour, the base with a small square raised seal mark. Period: Ming Dynasty. Length: 10,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / The three-legged toad, although almost always linked to the immortal Liu Hai, has its origins in the magical realm, and represents the unattainable. For condition reports visit: www.uppsalaauktion.se

858

859

858. A fine coral-red reverse decorated ‘floral’ bowl. The finely and deeply potted bowl resting on a short straight foot, 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, the interior left undecorated, the recessed white base inscribed in underglaze blue with a square sealmark of Daoguang and of the period. Period: Daoguang mark and period. Diameter: 13 cm.

859. A fine coral-red reverse decorated ‘floral’ bowl. The finely and deeply potted bowl resting on a short straight foot, 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, the interior left undecorated, the recessed white base inscribed in underglaze blue with a square sealmark of Daoguang and of the period. Period: Daoguang mark and period. Diameter: 13 cm.

/ 12.000 - 15.000 / / 2 1.300 - 1.600 /

Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired wilst living in China during the 1910’s. C F Erikson was working as a supervisor for the Swedish company Svenska Diamantborrningsbolaget.

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.

From the collections of Carl Fredrik Erikson Lots 858 - 860 860. A large early Ming style ”Peony” charger. The dish is finely painted in bright blue tones with two peony blooms growing from a leafy branch, surrounded on the cavetto with a continuous lotus scroll and on the everted lipped rim with eight fruit and flower sprays, the exterior painted with a further lotus meander, all within double-line borders, the base is unglazed. Diameter: 45,5 cm. / 100.000 - 150.000 / / 2 11.000 - 16.000 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired wilst living in China during the 1910’s. C F Erikson was working as a supervisor for the Swedish company Svenska Diamantborrningsbolaget. Thermoluminescence Analysis Report sample No P114d55 from Oxford dated 8 May 2014 included. The test result states that it is not possible to issue a result for this piece as the clay is too insensitive for TL measurements and cannot be dated. This decoration is one of the great classic designs first seen in the Yongle period (1403‑1425). This charger was probably made in the late 19th early / 20th century. For condition reports visit: www.uppsalaauktion.se

861

861. A soapstone carving of a lion dog. The fearsome beast carved seated on his haunch legs with his front legs supporting the upper body, his big head turned to the side with the jaws open revealing sharp teeth and a red tongue, his eyes inset with blue stones protruding underneath bushy eyebrows, the fur finely detailed and incised throughout, with his long mane incised and stained in black, and curly hair on his large bushy tail and legs also stained black, the stone of a pale colour with russet inclusions. Height: 27,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Arnold Ith, acquired whilst traveling in the 1950´s and 60´s, thence by descent.

862

862. A carved soapstone grotto. Carved with dragons chasing a flaming pearl above crashing waves, the base with calligraphy carved in relief. Dragon, pearl and calligraphy on base. Period: Late Qing. Height: 21,5 cm. / 4.000 - 6.000 / / 2 430 - 640 /

863

863. A soapstone carved brushwasher in the shape of a gourd. Carved in the shape of a gourd with fruiting and leafy vines carved in relief on one side of the body, small animal nestle in amongst the leaves. On a carved hardwood stand. Period: 19th Century. Length: 12,5 cm. / 3.000 - 4.000 / / 2 320 - 430 /

100

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864

864. A jade vase and cover. Of rectangular section, the ovoid body rising from a splayed foot to a waisted neck and galleried mouthrim, carved in openwork with a pair of archaistic dragon handles suspending loose rings above a further set of archaistic handles suspending bells on interlinked-ring chains, the main body decorated on both sides in low relief with archaistic chilongs, the rectangular-sectioned cover surmounted by a tall finial with openwork carved dragons again suspending loose rings, the stone of a pale colour with natural inclusions. Height: 26 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Paul Ragnar Wedendal (1924‑2010), thence by descent.

865

865. A jade bi-ring and jade disc. The bi-ring in a pale celadon with russet inclusions and decorated with raised whorls, the disc carved with a figure seated on a kylin. Diameter: 5,5 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: Paul Ragnar Wedendal (1924‑2010), thence by descent.

866

866. A pendant and a figure. Jade. Length: 5 cm and 8,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Paul Ragnar Wedendal (1924‑2010), thence by descent.

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867

867. A Chinese carved gourd. Carved in the shape of a bottle vase with a bulbous body and gently flaring neck, carved in relief around the body with four characters, each surrounded by scroll work, together forming the mark of Qianlong, and set between carved lappets above the foot and on the shoulder, the neck with rounded upright petals, further scroll work and a key-pattern around the mouth. Height: 15 cm.

868

868. A carved bamboo brushpot, bitong. Of cylindrical form and straight sides, decorated around the body with a wide panel carved in raised relief with a calligraphic poem, set between thin bands of carved scroll work, the bamboo of a reddish-brown colour. Height: 12 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: Paul Ragnar Wedendal (1924‑2010), thence by descent.

/ 4.000 - 5.000 / / 2 430 - 530 / Provenance: Paul Ragnar Wedendal (1924‑2010), thence by descent. Highly prized naturally grown gourds were of great Imperial interest as emphasised by the Qianlong poem Yong hu lu qi, ‘Odes to a vase-gourd’, which suggested that experiments in growing gourds had already been conducted by Emperor Kangxi in the Imperial West Gardens, located outside the Forbidden City.

For condition reports visit: www.uppsalaauktion.se

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869

870

869. A pair of famille rose bowls. Qianlong mark but later. Diameter: 15,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Paul Ragnar Wedendal (1924‑2010), thence by descent.

870. A Chinese blue and white ‘phoenix’ mallet-form vase. Elegantly potted, the bellshaped body surmounted by a slender tubular neck finishing in a thin moulded rim, painted on each side in shades of underglaze blue with an open-winged archaistic abstract mythical phoenix formed by furled foliate elements, the countersunk base is inscribed with a sixcharacter Kangxi mark in underglaze blue but later. Height: 18 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Paul Ragnar Wedendal (1924‑2010), thence by descent. Compare a similar pair of vases from the Riesco collection included in the 1946 exhibition of the Oriental Ceramic Society entitled Ming Blue-and-White Porcelain.

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871

871. A pair of famille rose ‘grasshopper’ plates. Of round forms, each painted on the interior with a large green grasshopper perched on the side of a jar decorated with key-fret between pink lappets around the foot and the rim, the glazed bases painted in the centres with a four character mark in red. Diameter: 12 cm.

872

/ 6.000 - 8.000 / / 2 640 - 850 / For a very similar style of grasshoppers compare with a vase dated Hongxian period illustrated in Gunhild Avitabile, Von Schatz der Drachen – From the Dragon’s Treasure: Chinese porcelain from the 19th and 20th centuries in the Weishaupt collection, London, 1987, pl. 181, p. 131.

872. A large famille rose vase with a hundred monkeys, Hu. Of archaistic form, painted with a landscape with monkeys. Period: Qianlong mark, 20th Century. Height: 44,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / For condition reports visit: www.uppsalaauktion.se

105

873. 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. / 25.000 - 30.000 / / 2 2.700 - 3.200 / Provenance: Anna Sonja Krüger (1897‑1977) possessed these vases from 1922, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

106

874. An unusual Chinese blue and white lozenge-shaped soup tureen, cover and stand. After a European silver-shape, the tureen moulded in rounded sections around the body, with a moulded stepped rim, flanked by animal mask handles and painted with mountainous landscape scenes set in between elaborate bands, the gently domed and moulded cover with similar stepped sections, again decorated with various elaborate bands and surmounted by a finely moulded and pierced European crown finial, the stand of an unusual shaped quatrefoil form decorated with a further landscape scene framed by matching elaborate bands around the rim. Period: Qianlong. Length of tureen: 43 cm, stand 47 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 /

For condition reports visit: www.uppsalaauktion.se

107

875. A Chinese cloisonné vessel and cover. Based on an archaic bronze form, the deep rounded sides moulded in sections with bands encircling the body, flanked by a pair of intricate mythical beast heads, each issuing a c-shaped handle terminating in a tab, surmounted by a small domed cover with a round finial, all supported on a gently rounded and flared foot attached with gilded animal heads, four of the bands decorated with stylised archaistic animals on pink grounds, set between bands of gilded scroll-work on black grounds, the beast heads finely gilded and painted with the eyes of the animals with the handles in archaistic patterns on black grounds, the cover similarly decorated with an archaistic band set on a pink ground below a band of gilt scroll work on a black ground, the finial with a large stylised flower-head, the foot with a matching band to the cover divided by the animal heads, the base and the interior in a bright turquoise colour. Period: 19th / 20th Century. Height: 28 cm, Length: 35 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: Formerly in the collections of the Swedish industrialist James Keiller (1836‑1918).

108

876. A pair of cloisonné ‘mille fleur’ pricket candlesticks. Each with a bell-shaped base supporting a dish tray with a galleried rim, rising to a knopped columnar neck and a smaller tray on top, fitted with a metal pricket, the exteriors and the interiors brightly enamelled with an elaborate ‘mille fleur’ decoration, encircled at the rims and feet by keyfret bands. Period: 19th Century. Height: 46,5 cm. / 50.000 - 60.000 / / 2 5.300 - 6.400 / Provenance: Acquired in Hong Kong in 1985 according to receipt.

For condition reports visit: www.uppsalaauktion.se

109

877. A Chinese cloisonné enamel vase, meiping. The swelling body tapering to a short neck and decorated with scrolling flowers, hanging grapes, baskets and many varieties of colourful butterflies fluttering around the flowers, all on a turquoise ground, above a blue, red and yellow-lappet border at the foot. Period: 17th / 18th Century. Height: 31 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 /

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878

878. A Chinese green-glazed mallet vase. Of mallet form with a straight slender neck, covered in a rich green glaze suffused with a fine dark crackle, thinning at the rim to meet the crackled creamy-white glaze covering the interior and the slightly recessed base. Period: 18th Century. Height: 20 cm.

879

880

/ 6.000 - 8.000 / / 2 640 - 850 /

879. A Chinese green-glazed rouleau vase. The circular body rising to a stepped shoulder and a short straight neck with a flattened and everted rim, covered on the exterior in a light green glaze, the white glazed base painted with a six-character mark of Chenghua in blue inside double circular lines. Period: 18th / 19th Century. Height: 26 cm. / 5.000 - 6.000 / / 2 530 - 640 /

880. A Chinese red-glazed bottle vase. The pear-shaped squat body rising to a tall slender neck, covered on the exterior and the base in a lustrous dark red glaze thinning at the neck and in contrast to the white rim and interior. Period: 18th Century. Height: 18 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / For condition reports visit: www.uppsalaauktion.se

111

882

883

881

881. 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 /

882. A Chinese green-glazed vase, meiping. Covered in a rich green glaze suffused with a fine dark crackle, thinning at the rim to meet the brown-washed rim and the crackled creamy-white glaze covering the interior and a slightly recessed circular section of the otherwise flat brown-washed foot. Period: 18th / 19th Century. Height: 19,5 cm. / 6.000 - 8.000 / / 2 640 - 850 /

883. A Chinese green-glazed vase, meiping. The swelling body tapering to a short neck, covered in a rich green glaze suffused with a fine dark crackle, thinning at the rim to reveal the white glazed interior, the white glazed base painted in the centre with double circular lines in blue. Period: 18th Century. Height: 21 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

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884

884. A Chinese ‘peachbloom’-glaze bottle vase. Of inverted pear form rising to a slender neck, covered with layers of pale to dark raspberry mottled with patches of moss green glaze, the white-glazed base with a Kangxi six character mark in blue. Period: 20th Century. Height: 14,5 cm.

885

886

/ 3.000 - 4.000 / / 2 320 - 430 / Provenance: Acquired by the present owners husband in Hong Kong in the 1960´s-1970´s.

885. A ‘café-au-lait’-glazed stem cup. The deep rounded sides supported on a tall splayed foot, covered on the exterior in a light ‘café-au-lait’-glaze, the white glazed bowl painted with double circular lines in blue on the inside rim, the base glazed. Period: 18th Century. Height: 5,5 cm. / 5.000 - 6.000 / / 2 530 - 640 / Label: P.J. Donnelly Ex Collectio.

886. A celadon vase with crackle-glaze. Of unusual form, with red splashes. Period: 19th / 20th Century. Height: 17 cm. / 3.000 - 4.000 / / 2 320 - 430 / For condition reports visit: www.uppsalaauktion.se

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888

889

887

887. A Chinese 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 / 888. A Chinese monochrome blue-glazed vase. The baluster body rising from a flaring foot to a stepped shoulder and gently everted neck with a galleried rim, the exterior covered in a rich blue glaze in contrast to the white rim and interior. Period: Late Qing, early 20th Century. Height: 30 cm. / 4.000 - 6.000 / / 2 430 - 640 / 889. 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. / 6.000 - 8.000 / / 2 640 - 850 /

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890

890. A Chinese ‘clair-de-lune’ bottle vase. The flaring foot rising to a bulbous body and long slender neck covered in a clairde- lune glaze neatly finishing at the foot and rim, the base with a six character mark of Kangxi in underglaze blue. Height: 19,5 cm.

891

892

/ 6.000 - 8.000 / / 2 640 - 850 /

891. A Chinese celadon vase, hu. Of archaic bronze form and rectangular section, the flattened body decorated on either side in relief, one side with a monkey hanging from a tree, the narrow sides flanked by curved animal head handles, covered in a light celadon glaze with darker streaks. Height: 25 cm. / 7.000 - 8.000 / / 2 750 - 850 /

892. A dark green glazed vase. Dark green monochrome. Period: Qing. Height: 24 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Formerly in the collections of postmaster Oscar Bondesson, Strömsund, thence to his daughter and then to the present owner. For condition reports visit: www.uppsalaauktion.se

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893. A fine ‘Dehua’ ‘blanc-de-chine’ figure of Guanyin. Finely modelled standing on a lotus leaf base above cresting waves, wearing a long robe tied at the waist and open at the chest revealing a beaded necklace, her hair tied in an elaborate topknot beneath a Buddhist tiara and diadem, her left hand holding the hem of her skirt while her right hand is holding a wicker basket, the back with an impressed Wanli six-character mark within a square below an impressed double-gourd seal bearing the characters Fujian Dehua Zhizao 福建德化制造. Period: Late Qing. Height: 51 cm. / 100.000 - 150.000 / / 2 11.000 - 16.000 / Provenance: In the private collections since the 1910´s of one of Copenhagens foremost antique dealers, thence by descent in the family. Compare six other large blanc-de-chine figures each with a Wanli sixcharacter mark and bearing the kiln mark Fujian Dehua Zhizao 福建德化制造 illustrated by P.J. Donnelly in his seminal work on blanc-de-chine, Blanc De Chine: The Porcelain of Tehua in Fukien, n.pl., 1969, pls. 76 and 77. Donnelly writes about the kiln marks and we quote: “These are peculiar to Têhua and are found only on figures, usually within gourd outlines. The simplest (C3, 4) says merely, Têhua; the most elaborate (C1) contains the statement Fu-chine Tê-hua tsaochih, made at Têhua in Fukien. This is found in association with the Wan-li reign mark on the six figures of Plates 76,77 and also by itself on two figures of Buddhist saints…As has been explained, all these figures are considered to belong to the late eighteenth century at best…”

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For condition reports visit: www.uppsalaauktion.se

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894

894. A bronze bowl shaped as a lotus leaf. Supported on tripod legs modelled as lotus pods. Length: 21 cm. / 4.000 - 6.000 / / 2 430 - 640 / Provenance: Acquired by the present owner at Wang Kunsthandel, Oslo, around 1970. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

895

895. A bronze archaistic censer. Decorated with taotie masks on a leiwen ground, the body flanked by tab handles issuing from animal heads and flanges. Period: 19th / 20th Century. Diameter: 12 cm. / 5.000 - 6.000 / / 2 530 - 640 /

896

896. Two Chinese bronze mirrors. Diameter: 10 cm and 13,5 cm. / 4.000 - 6.000 / / 2 430 - 640 /

118

897. A bronze archaistic bronze censer, fang ding. Of rectangular section raised on four tall blade-shaped legs, decorated around the body in shallow relief with taotie masks divided by flanges, all below a narrow frieze of stylized dragons below the everted rim, set with a pair of upright U-shaped handles, the base plain, inside the censer two rows of archaic characters, the wood cover with a hardstone finial carved as a figure, the hardwood stand set with a hard stone roundel depicting a bird in flight. Period: 18th / 19th Century. Height of vessel: 25 cm. Height with cover on stand: 35 cm.

897

/ 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Swedish private collection. Acquired in the Orient during the 1880´s and 1890´s, thence by descent.

898

898. A bronze censer, fang ding. Of rectangular section on four round legs, decorated around the body in shallow relief with taotie masks, below a frieze of stylised dragons all on a leiwen ground, set with a pair of upright U-shaped handles, the base plain, the later wood cover carved with a kylin. Period: 19th Century. Height: 33,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / For condition reports visit: www.uppsalaauktion.se

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899

899. A bronze censer. Of rounded form on three feet, decorated with a band of trigrams on a leiwen ground, the top and bottom registers with emblems including the conch shell, the base bearing the mark of Hu Wenming. Height: 9 cm, Diameter: 9,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: Formerly in the collection of Erik Nordström (1884‑1971). Erik Nordström lived and worked in China 1910‑1948.

900

900. A Chinese bronze vase. Period: 8th / 19th Century. Height: 17,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

901

901. A bronze censer. Xuande mark. Period: 20th Century. Length: 25 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

120

902. A bronze archaistic vase. Of archaistic form and design, the four-sided body with a slightly raised central section upon which sit four birds, slightly flaring rim and splayed foot with raised decoration of taotie masks, the bottom register with cicada blades and raised flanges, mirrored on the top register. Period: 19th Century. Height: 32,5 cm. / 4.000 - 6.000 / / 2 430 - 640 / Provenance: Acquired in 1955 in Korea by Bertil Sohlberg (1917‑2006) whilst in service there, then to the present owner.

903. A bronze vase. Rising from a slightly flared foot to a waisted neck and slightly flared rim two handles issuing from dragon heads at the neck, the body plain apart from six lappets cast in low relief below a fret key pattern, at the neck a further band of taotie masks on a ”lei wen” ground. Period: 19th Century. Height: 32 cm. / 4.000 - 6.000 / / 2 430 - 640 / Provenance: Acquired in 1955 in Korea by Bertil Sohlberg (1917‑2006) whilst in service there, then to the present owner. For condition reports visit: www.uppsalaauktion.se

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904

905

904. A bronze vase. Cast in two detachable parts, the lower section forming a small bowl raised on the flaring foot, the upper section with a raised decoration of a dragon, the interior with a burner. Period: 18th / 19th Century. Height: 18 cm. Cast in several parts. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Shipbroker Olaf Thoresen (1870‑1937) married to Margit Pettersen (1884‑1966), active in Shanghai from 1900 to the 1920´s, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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905. A archaistic bronze tripod vessel, jue. The U-shaped body with broad flaring mouth raised on three bladeshaped supports, cast in relief around the body with a wide band, the loop handle issuing from a stylised dragon head, with a pair of capped posts rising from the rim. Height: 16,5 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: Shipbroker Olaf Thoresen (1870‑1937) married to Margit Pettersen (1884‑1966), active in Shanghai from 1900 to the 1920´s, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

906. 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 / For condition reports visit: www.uppsalaauktion.se

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908

907

909

907. A carved jade figure. Carved as a seated lady holding a flywhisk with a incense burner nearby emitting swirling smoke, the stone of a pale colour. Length: 9,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Formerly in the collections of the artist Wilgot Lind.

908. A carved jade group. Carved as a peach on a budding and leaved branch, with a lingzhi carved on the side, the stone of a pale colour with natural inclusions. Length: 5,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / 909. A carved jade figure. Carved as a recumbent animal, the tail curled along the body, the stone of a pale celadon colour. Length: 6,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Acquired in China ca 1946.

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910 912

913

911

910. A carved jade figure. Carved as a recumbent kylin. Length: 6 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / 911. A carved jade belt buckle. Carved with a figure along the shaft and finishing in a dragon head terminal, with gilt decoration. Length: 11,5 cm. / 6.000 - 8.000 / / 2 640 - 850 /

912. A carved jade figure. Carved as twin carp, the stone of a pale colour. Length: 10,5 cm. / 4.000 - 5.000 / / 2 430 - 530 / 913. A carved jade figure. Carved as a little boy resting on a wheel, his eyes closed, wearing long-sleeved robe, the stone of a light celadon colour with russet inclusions. Length: 6 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

For condition reports visit: www.uppsalaauktion.se

125

914. A carved jade model of a dragon boat. Intricately carved and pierced in the shape of a dragon, the large head of the dragon, holding a pearl in its mouth, at the front of the boat, and the tail the back of the boat, the deck enclosing figures at leisure, with further figures seated on the upper deck shaded by a pagoda roof, lanterns hanging from the mast and corners, at the front carved chains with anchors drag along the boat. On a wood stand. Height: 19 cm, Length: 20,5 cm. / 20.000 - 25.000 / / 2 2.100 - 2.700 / According to reciept acquired in Singapore in January 1992. The intricately carved boat illustrates the extraordinary skill displayed by the Chinese carver.

126

915

917

916

918

915. A jade plaque. Of shaped oval form decorated with the character for double happiness, shungxi, below a scrolling band, pale celadon colour. Fitted onto a silverplated clip. Height: 5,5 cm. / 5.000 - 6.000 / / 2 530 - 640 / 916. A jade rectangular pendant. Carved to one side with four characters for double happiness, shuangxi, below a taotie mask, the stone of even pale colour. Length: 6 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

917. A shaped jade pendant. Decorated with two boys playing ball on a terrace, a man looking on from a window, the other side with calligraphy, the stone of pale celadon colour. Length: 6,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / 918. A carved jade group. Carved as two gourds on a vine with two shrews clambering onto the fruits at either side, the stone of a pale celadon colour. Length: 7 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / For condition reports visit: www.uppsalaauktion.se

127

919. A soapstone carving of Guanyin. Modelled seated on a simulated rock carved in high relief, the deity is depicted seated in rajalatitasana revealing the foot underneath her robe and with the left hand resting on the raised knee and the right hand holding a ruyi-sceptre in front of the chest, dressed in long flowing robes falling in folds around the body and a cowl over her high top knot, both finely incised with floral motifs, the figure in a pale creamy colour with russet inclusions and the base in a deep toffee-brown colour with russet inclusions. Period: 19th Century. Height: 16 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 / Provenance: Acquired in Finland in the 1950´s.

920. A carved possibly russet jade disc. Carved with moulded chilongs clambering onto a square disc with a central rectangular opening, the underside carved in relief with a pattern. Length: 6,5 cm. / 3.000 - 4.000 / / 2 320 - 430 /

128

921

923

922

921. A nephrite jade ruyi sceptre. Carved with archaistic scrolls forming a wide shallow taotie mask on the sceptre head, along the shaft a stylised chilong in high relief and further archaistic designs in shallow relief, the sides with open-work flanges, the underside smoothly carved and undecorated. Length: 28 cm. / 18.000 - 20.000 / / 2 1.900 - 2.100 / Ruyi sceptre is a talisman presented to bring good fortune. Ruyi in Chinese means ’as you wish’. It dates back to pre-Tang (618‑907) times, with its origins connected with Buddhism when it was used as a backscratcher. It is often seen held by figures such as Manjusri, the Buddha of Wisdom. It changed in shape during the second half of the Tang period when there was a decline in Buddhism. Sceptres became closely associated with Daoism and from that time onwards, the heart-shaped head was often rendered as a longevity fungus (lingzhi). Sceptres also became highly ornamental, lost their practical function and took on any shape that was considered suitable for its use as a secular good luck charm. During the Qing dynasty both emperors Yongzheng and Qianlong gave ruyi sceptres as presents to worthy officials and loyal subjects. Both emperors also had themselves painted holding ruyi sceptres

922. A nephrite bangle. Of smooth circular form, the stone of a clear green colour with inclusions. Diameter: 7 cm, inside 5,5 cm. / 3.000 - 4.000 / / 2 320 - 430 /

923. A Mongolian hardstone inlaid silver ewer. The pearshaped body rising from a short foot to a tall waisted neck, a slender S-shaped spout issuing from the mouth of a dragon to one side, the other side with a shaped handle surmounted by a silver bird holding a chain in its mouth which is attached to the cover, the body inset with two jade plaques, depicting an old man in a landscape, the plaques framed in raised silver work and with a raised lion mask above. Height: 27 cm. / 35.000 - 40.000 / / 2 3.700 - 4.300 / According to reciept acquired in Singapore in June 1982. For condition reports visit: www.uppsalaauktion.se

129

924

925

924. A collection of sixteen snuff bottles. In various materials and sizes, some with hardstone stoppers. Height: ca. 6 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: Acquired by the present owners husband in Hong Kong in the 1960´s-1970´s.

925. A silver snuff bottle. Qianlong mark, 20th Century. Height: 9 cm. Weight 78 g. / 4.000 - 5.000 / / 2 430 - 530 /

926

926. An unusual Chinese Canton enamel blue and white snuff bottle. Of flattened rounded form, decorated on either side with a large roundel painted with landscapes, surrounded by scrolling branches, the base with a four character Qianlong mark. Height: 7,5 cm. / 4.000 - 5.000 / / 2 430 - 530 /

130

927. A four-piece silver tea set. Marked Shanghai Luen Wo 厚祥 Canton, around 1900. Height: 7,5 cm ‑ 25,5 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 /

928. A pair of silver and enamel bowls. Marked Wang Hing & Co, Hong Kong, early 20th Century. Height: 10 cm, diameter: 19,5 cm. Weight: ca. 1213 grams. / 15.000 - 20.000 / / 2 1.600 - 2.100 / For condition reports visit: www.uppsalaauktion.se

131

132

929. Isidore Stanislas Helman A collection of 22 hand coloured engravings from the reign of Qianlong. Late 18th Century, dated 1783‑1788. Set of prints by I.S. Helman of the battles of the Emperor Qianlong depicting battle scenes, parades and encampments after Jesuit artists Joannes Damascenus, Conceptione Augustinus Excalecatus. 20 of the engravings signed and dated in the print. Plate measurements 30,5 x 43 - 26,5 x 42,5 cm. / 40.000 - 50.000 / / 2 4.300 - 5.300 / On July 13th, 1765, by Imperial decree, Qianlong ordered that sixteen drawings by four Jesuits: Giuseppe Castiglione, Jean-Denis Attiret, Ignatius Sichelbarth and Jean Damascene,of his victories in Central Asia, should be sent to Europe for engraving in copper. The copper plates together with 100 engravings were to be sent to him in Beijing. The Chinese viceroy in Canton was persuaded to send them to Paris where the royal engraver, Cochin was put in charge of this prestigious order. The work of engraving was distributed to the best French artists of the day. The French East India Company was paid 204000 French pounds for the work by the Chinese Hong merchants in Canton and the engravings finally reached China in 1775. The Emperor Qianlong was pleased with the result and instructed Chinese artists to produce more copper engravings of further Imperial victories on the frontiers of Tibet, in Formosa, in Nepal, in Annam, in Yunnan, in Hunan and again in Turkestan. In 1786‑1788 there was a set of twelve engravings produced of the campaigns in Formosa, they appeared in 1789‑90. These engravings provide an extremely interesting example of the inter-action of Chinese and European artistic concepts as well as giving an insight into the fascinating relationship of the Jesuit artists in Beijing with the Manchu court. An exhibition of some of the engravings on Ch’ien Lung’s conquests was held at the Musee Guimet in Paris, January to March 1967. The engravings shown included those of Musee de Fontainbleau. A well illustrated publication, produced by Monsieur Michele Pirazzeoli-T’Serstevens, Deputive Keeper of the Musee Guimet, together with historical notes of interest, was issued by the Musee Guimet in 1969. References and illustrations of the Ch’ien Lung Conquests are contained in the Chater Collection Catalogue, 1924, Michel Beurdley’s book on the Jesuits in China, also in publications, Giuseppe Castiglione (1688‑1766) by Professor Max Loehr. For condition reports visit: www.uppsalaauktion.se

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930

930. Embroidery. Embroidered in coloured silks of dragons, pheonix and clouds. 57 x 100 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Not examined out of frame. 931

134

931. Praying books. Lacquered. Possibly 18th / 19th Century. Length: 48 cm and 50 cm. / 3.000 - 4.000 / / 2 320 - 430 /

932

932. A Chinese scroll. With signature Huang Zeng. Watercolour and ink on silk, 145 x 81 cm. / 6.000 - 8.000 / / 2 640 - 850 /

933

933. A Chinese scroll. With signature Wang Wu王武. Watercolour and ink on silk, 227 x 110 cm. / 20.000 - 25.000 / / 2 2.100 - 2.700 / 934

934. A Chinese scroll. After Liu Guandao 刘贯道. Hunting scene. Watercolour and ink on paper, 114 x 244 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Acquired in Peking by Dag Malm, who was at the Swedish Embassy in Peking 1951 1953. For condition reports visit: www.uppsalaauktion.se

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936

935

937

935. Calligraphy, a pair. With signature Shen Zengzhi (Ji Sou), 1850‑1922. Calligraphy on paper, 130,5 x 32 cm (each). / 6.000 - 8.000 / / 2 640 - 850 / 936. A Chinese watercolour. With signature Chen Zhen (1841‑1915). Watercolour on paper, 32 x 32 cm. / 3.000 - 4.000 / / 2 320 - 430 / Not examinated out of frame. Provenance: Formerly in the collection of Lennart Petri (1914‑1996), at the Swedish Embassy in Beijing 1963‑1969.

937. Scroll. With signature Yuan Yao. Qing dynasty, 18th / 19th Century. Ink and watercolour on silk, 50 x 36 cm. / 5.000 - 6.000 / / 2 530 - 640 /

136

938

938. Scroll. After Xu Beihong. Watercolour and ink on paper, 81 x 55 cm.

939

940

/ 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Ambassador Jan van den Berg. He was stationed in China from the 1920´s until 1949, thence by descent.

939. Scroll. After Qi Baishi. Watercolour and ink on paper, 88 x 47 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Ambassador Jan van den Berg. He was stationed in China from the 1920´s until 1949, thence by descent.

940. A set of Chinese famille rose ‘scenes galantes’ plaques. Period: 20th Century. Measurement: 21 x 14 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Ambassador Jan van den Berg. He was stationed in China from the 1920´s until 1949, thence by descent. For condition reports visit: www.uppsalaauktion.se

137

941

942

941. A Chinese framed painting. With signature Zhu Derun. Watercolour and ink, 118 x 63 cm.

942. A Chinese scroll with a mountainous landscape. After 胡廷晖 Hu Tinghui. Watercolour and ink on silk, 102 x 64 cm.

/ 6.000 - 8.000 / / 2 640 - 850 /

/ 15.000 - 20.000 / / 2 1.600 - 2.100 / Comes with a wooden box.

138

Qi Baishi (1864â&#x20AC;&#x2018;1957)

For condition reports visit: www.uppsalaauktion.se

139

Pictures taken at the home of Qi Baishi while painting the painting dedicated to Joesoef Karta di Koesoemah in 1952 or 1953.

Qi Baishi, his housekeeper and Pam Youde.

Qi Baishi and Joesoef Karta di Koesoemah.

140

Qi Baishi and Ted Youde, British Embassy, later Governor of Hong Kong.

Qi Baishi, his housekeeper and Ted Youde.

943. A painting by Qi Baishi (1864‑1957) of four crabs and three prawns. Signed and with dedication, two red seals of the artist. 104 x 34,5 cm. / 600.000 - 800.000 / / 2 64.000 - 85.000 / Provenance: Marianne Carlson, secretary to the Ambassador at the Swedish Embassy in Beijing 1950‑1953. Marianne Carlson married in 1953 Joesoef Karta di Koesoemah, who at the time was working at the Indonesian Embassy. The painting has been in the same family ever since. The painting has a dedication to Joesoef Karta di Koesoemah. PREMIUM LOT Clients who wish to bid on this Premium Lot must submit their Premium Lot client application in advance, no later than three days prior to the sale. Please contact Uppsala Auktionskammare’s client service for further assistance at support@uppsalaauktion.se Only approved Premium Lot clients for this sale will be eligible to bid on this Premium Lot.

For condition reports visit: www.uppsalaauktion.se

141

944

945

945. Scroll. After Qiu Ying. Ink and watercolour on silk, 122 x 55 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Acquired in Beijing 1966.

944. A Chinese painting. Possibly 18th Century. Oil on canvas, 158 x 87 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 / Provenance: Acquired from Estrid Ericson (1894‑1981, founder of Svenskt Tenn, Stockholm)

142

946

947

946. A Chinese scroll. Ink and watercolour, 111 x 48 cm. / 6.000 - 8.000 / / 2 640 - 850 / Comes with a wooden box.

947. A Chinese scroll. Watercolour and ink on silk. With signature Wu Yigui. 122 x 41 cm. / 5.000 - 6.000 / / 2 530 - 640 / For condition reports visit: www.uppsalaauktion.se

143

948

948. Long scroll with painting and calligraphy. With signature Wang Jun (late 19th Century). Ink on paper, 1100 x 16 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Provenance: Acquired by the present owners father in China in the 1960´s.

949

949. A Chinese painting. With signature Liang Dingming (1895‑1959). Ink on paper, 42 x 63 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: Ambassador Jan van den Berg. He was stationed in China from the 1920´s until 1949, thence by descent.

144

950. Four Chinese scrolls. With signature Zhu Meicun (1911‑1993) and date 1941 (Xin Yi Nian). Ink and watercolour on paper,65 x 36 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / For condition reports visit: www.uppsalaauktion.se

145

951

951. Four Chinese watercolours and calligraphies. After Ma Hezhi (1127‑1279). With signature Chen Ji (1314‑1370). Calligraphy on paper and watercolour on silk. 27,5 x 113 cm, 27,5 x 118,5 cm, 27,5 x 129 cm and 27,5 x 143,5 cm. / 20.000 - 25.000 / / 2 2.100 - 2.700 / Not examined out of frame.

146

952. A pair of Japanese gilt-bronze Samurai Archers. One with his bow fully drawn and preparing to shoot an arrow at his target, the attendant carrying a lantern, the cloaks richly embellished with mons, signed in a rectangular reserve, with lacquered wood stand. Period: Meiji period (Late 19th Century). Height: 31 cm and 35 cm (with stands). / 30.000 - 40.000 / / 2 3.200 - 4.300 / For condition reports visit: www.uppsalaauktion.se

147

953. A rare matching set of Japanese gold lacquer kura (saddle) and abumi (stirrups). Of typical form lacquered in flat and high relief gold makie with a fierce looking shishi with inlaid eyes crouching on rock work looking down, two further shish, one clambering up and one down on the sides of the saddle, the stirrups similarly decorated. The saddle signed and with an inscription. Period: Edo. Length: 42 cm (saddle). / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Swedish private collection. Acquired in the Orient during the 1880´s and 1890´s, thence by descent. Literature: Compare exhibition catalogue, Far Eastern Museum of antiquities in Stockholm 26 September-9 December 1990: Japanska Konstskatter från Tolyo Fuji Art Museum, lot 55 and 56, page 65.

148

954

954. An album of photographs mainly from China, late 19th Century. Consisting of 27 black and white photos, some dated 1874. Mostly from Hong Kong, but also Canton, Foochow, China, Ceylon and Aden. Measurements: ca. 20 cm x 28 cm. / 2.000 - 3.000 / / 2 210 - 320 /

955

955. A book of Qi Baishi’s paintings. Printed in May 1952 by Rong Baozhai. 22 pages. 31 x 21,5 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / For condition reports visit: www.uppsalaauktion.se

149

957

956

956. A Chinese blue and white bottle vase. The rounded body rising to a tall narrow neck, decorated with three kylins playing with a brocaded ball above a swirling band border the foot and below a band of lappets and key pattern, the neck with upright stiff archaistic leaves the base with a six-character Kangxi mark. Period: 19th Century. Height: 24,5 cm. / 4.000 - 5.000 / / 2 430 - 530 /

150

957. A Chinese blue and white rouleau vase. Painted in shades of underglaze blue in the Kangxi-style with a mountainous river landscape around the circular body, the neck with two bands, the base with double circular lines in blue. Height: 26,5 cm. / 6.000 - 8.000 / / 2 640 - 850 /

958

958. A Chinese blue and white spiral-form vase and cover. Of baluster shape, the moulded body painted in bright underglaze blue with detailed flowers amidst further flowering foliate meanders within moulded lotus petal bands at the shoulder and waist, with a narrow decorative band above a stepped foot, the moulded domed cover with a shaped rim surmounted by a bud finial. Period: Kangxi. Height: 31 cm.

959

959. A beaker vase. The straight sides rising to a slightly flaring rim, the body painted with a watery landscape with a lone scholar walking towards a promontory, behind him jagged rock work, trees and a pagoda. Period: Kangxi. Height: 17,5 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

/ 6.000 - 8.000 / / 2 640 - 850 /

For condition reports visit: www.uppsalaauktion.se

151

960

960. A Chinese blue and white ‘lotus’ dish. The shallow rounded sides resting on a short straight foot, painted in contrasting tones of underglaze-blue, the centre decorated with lotus blooms issuing from leafy scrolling stems, the sides decorated with a composite floral scroll on meandering leafy stems, all below a keyfret band, the exterior similarly decorated, the base inscribed in underglaze blue with a six-character mark of Yongzheng within a double-circle, possibly of the period. Diameter: 16 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 /

961

961. A Chinese blue and white bowl. Of octagonal section, decorated on the exterior with panels of floral sprays issuing from the ground, the interior painted with a spray of chrysanthemum issuing from stylised rockwork, the base with a fourcharacter Kangxi mark. Diameter: 18 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Acquired by the present owners husband in Hong Kong or Beijing in the 1960´s-1970´s.

152

962. A Chinese blue-glazed bowl. The deep rounded sides rising from a short straight foot to a very gently everted rim, covered on the exterior in a rich dark blue glaze, the interior painted in shades of underglaze blue with a large floret to the centre surrounded by a band of small motifs, the interior walls with four roundels each decorated with floral sprays and divided by scattered cloud motifs, the interior rim with a band of flower-heads, the recessed base painted to the centre with an apocryphal sixcharacter mark of Xuande in underglaze blue inside double circular lines. Period: Kangxi. Diameter: 20,5 cm.

962

/ 30.000 - 35.000 / / 2 3.200 - 3.700 /

963

963. 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 ruyiheads, 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 / For condition reports visit: www.uppsalaauktion.se

153

965

966

964

964. A blue and white Yuan style dragon stem cup. The rounded sides rising from a tall spreading ribbed foot to a flared rim, freely painted to the exterior with two scaly three-clawed dragon contesting a flaming pearl, the interior with a classic scroll at the rim and the centre with script. Period: 20th Century. Height: 11,5 cm. / 4.000 - 6.000 / / 2 430 - 640 / 965. A Chinese blue and white plate. Of round form with a slightly foliate rim, decorated in the centre with a kylin, the well with large flower-heads and scrolling leaves and on the flattened rim with a band of wave-pattern, the exterior sides similarly decorated. Diameter: 31,5 cm. / 4.000 - 6.000 / / 2 430 - 640 / Provenance: Acquired by the present owners husband in Hong Kong in the 1960´s-1970´s.

966. A blue and white ewer. Rising from a flared-out foot to a slender neck and flaring out rim, with long slightly curved pouring spout, decorated around the body with kylins and a brocaded ball below a scrolling floral band on the shoulder, the neck with further sprays of flowers divided by a key fret band replacement metal handle and tip of mount, mark of Xuande, Ming. Period: Ming, Early 17th Century. Height: 19,5 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: Acquired by the present owners husband in Hong Kong in the 1960´s-1970´s.

154

967

967. A Chinese blue and white Transitional ewer. The globular body rising from a flared foot to a long slender waisted neck and small spout, set with a metal handle shaped as a floral spray and painted around the body with four peony roundels dividing larger clusters of foliage and on the neck with upright shrubs in the manner of tulips. Period: Transitional, Chongzhen. Height: 33,5 cm. / 3.000 - 4.000 / / 2 320 - 430 /

968

968. A Chinese blue and white rouleau vase. The cylindrical body rising from a short foot to a straight neck and flaring rim, decorated on the exterior with a continuous scene set in a rocky landscape with a group of five bearded immortals studying a scroll upon which is painted a yin yang symbol, two of the immortals holding either end of the scroll, three carrying their gnarled staffs, all standing underneath a tall pine tree, the base painted to the centre with a square four-character mark inside double square lines reading ‘Jingle Zhui Zhang’. Period: 20th Century. Height: 46 cm. / 4.000 - 6.000 / / 2 430 - 640 /

For condition reports visit: www.uppsalaauktion.se

155

969. A Chinese blue and white and famille rose ‘landscape’ vase. Of square section with tall slender neck flaring to an out-turned rim the neck with elaborate handles in the form of dragons, each panel painted with a watery landscape scene, one panel painted with a man on a bridge, another panel showing people at leisure, all on a ground of intricate scrolling flower heads, the base with a six-character seal mark of Qianlong. Period: Republic. Height: 33,5 cm. / 4.000 - 6.000 / / 2 430 - 640 / Provenance: Acquired by the present owners parents in the 1940´s.

970. A pair of small Chinese blue and white bottle vases. The rounded bodies rising to slender necks with cup-shaped mouths, decorated around the bodies with writhing and scaly five-clawed dragons contesting a flaming pearl all amidst clouds and flames, the bases with six-character marks of Guangxu in vertical lines and in blue. Period: Guangxu mark, probably later. Height: 15,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Acquired by the present owners husband in Hong Kong in the 1960´s-1970´s.

156

971. A pair of large blue and white jardinieres. With round bodies extending up to gently flaring rim, boldly painted to the exterior with two large five-clawed dragons striding towards each other and divided by a flaming pearl floating around fire and cloud scrolls, their bodies extending to the back of the bowl, above a wave pattern, the foot rim witha scroll pattern. Period: Qing Height: 21 cm, Diameter: 40 cm. / 30.000 - 40.000 / / 2 3.200 - 4.300 / Provenance: Bryngenäs Manor, Alingsås, since before 1960.

972. Two Chinese blue and white saucer dishes, a bowl and a Kangxi dragon dish. Of round forms, moulded sides and slightly foliate rims, each painted with a hunting scene of a male and female hunter shooting an arrow at a white hare in flight and a dog chasing after, each framed by scrolling and interlinked lotus divided by the bajixiang on the interior wells, the exterior sides with single flowers, the bases with six-character marks of Chenghua inside double circular lines, together with a Chinese blue and white dish depicting a dragon emerging from crashing waves to confront a further dragon above appearing from scrolling clouds, the exterior sides with further dragons emerging from waves, the base with a sixcharacter mark of Kangxi inside double circular lines, and a bowl, the deep rounded sides rising from a short straight foot to a foliate rim, the lower section moulded with petal-shaped panels each decorated with a flower spray, further flower sprays above and on the interior, the base with a six character mark of Kangxi in blue. Diameter: 15,5 cm (bowl), 20,5 cm (pair of dishes) and 21 cm (dish). / 10.000 - 15.000 / / 2 1.100 - 1.600 / For condition reports visit: www.uppsalaauktion.se

157

973

974

973. A Chinese Canton famille rose moonflask. Of round flattened forms with short necks and tall feet, the shoulders with handles in the form of confronting dragons, the bodies brightly enamelled with on one side warriors on horseback and on the other side with birds and butterflies perched on flowering branches issuing from rockwork, the narrow sides, the neck and the foot with small panels painted with figures engaged in various pursuits or birds and butterflies, reserved on a elaborated decorated ground of flowers and butterflies. Period: 19th Century. Height: 45 cm. / 6.000 - 8.000 / / 2 640 - 850 / 975

974. A Chinese famille rose baluster jar and cover. Of slightly inverted baluster shape, straight neck and a domed cover with flattened rim and a bud finial, decorated on the body with large shaped cartouches painted with bouquets of flowers in vases, surrounded by scrolling lotus, chrysanthemum, auspicious objects and white scroll work all reserved on a dark blue ground, the shoulder with a shaped collar elaborately decorated with lotus and flower heads, below a narrow band with small cartouches painted with birds on branches, the neck with a variety of scattered flower sprays, a lappet band around the foot with lotus suspending auspicious chimes, the cover similarly decorated, the base with a six-character mark of Guangxu in blue. Height: 65 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

975. A rectangular famille rose jardinière. With canted sides, decorated in enamels with two deer standing under pine trees, bats flying above, the other side with a flock of magpies. Period: 19th Century. Length: 35 cm. / 4.000 - 5.000 / / 2 430 - 530 /

158

976. A pair of imposing Chinese famille rose moonflasks. Of round flattened forms with short necks and tall feet, the shoulders with handles in the form of confronting dragons, the bodies brightly enamelled with mirrored cartouches painted on one side with a hunting scene depicting a dignitary, richly attired on a piebald pony, and his entourage hunting deer, in the background a mountainous landscape, and on the other side painted with two long-tailed birds perched on stylised rock-work from with peonies issue, beside the rock-work an old magnolia tree with a pair of birds seated on a branch, all reserved on densely decorated blue grounds of flower heads and pomegranates, the narrow sides with shou-characters in gold, the necks also with a shou-character, the bases with red square seal marks. Period: 19th Century. Height: 49 cm. / 100.000 - 150.000 / / 2 11.000 - 16.000 /

For condition reports visit: www.uppsalaauktion.se

159

977. Two Chinese export nodding-head lady candleholders. Each lady modelled standing on square waisted pedestals decorated with floral sprays and holding tall vases to their left sides, their detachable heads with fine moulded features with gently rouged cheeks and one with red lips, their hair swept up in high looped chignons, the vases decorated in underglaze blue and white with pendant lappets, each lady wearing long blue waistcoats with floral decorations and collars decorated with composite gilded flowers on dark grounds, each coat hemmed with a band of gilt key-pattern, worn over long red jackets with turquoise cuffs and light green necks and long, heavy yellow skirts, decorated with roundels and blue and red bands, from beneath which one of their slippers appear, both ladies with light green scarfs tied around their waists. Period: Qianlong. Height: 32 cm. / 40.000 - 50.000 / / 2 4.300 - 5.300 / Pairs of ladies such as the present lot were created for export throughout the Qianlong period, possibly inspired by earlier China trade figural candleholders from the Kangxi period. It is probable that this model of a Chinese lady evolved from representations of Guanyin, the goddess of mercy, although these figures do not have any religious or mythological connotations. Famille rose figures of ladies, such as these, were tremendously popular in Europe in the eighteenth Century. Many different models of ladies are known, most bearing vases. Similar ‘nodding head’ ladies are represented in the Hodroff Collection, illustrated by D. S. Howard, The Choice of the Private Trader, London, 1994, no. 308, pp. 258‑9; and a single example from the Mottahedeh Collection, as illustrated by Howard and Ayers, China for the West, London and New York, 1978, vol.II, no. 643, p. 614 and no. 644, p. 615. Further similar candleholders are in the Copeland Collection, illustrated in Sargent 1991, number 61, p. 134, and the Martin-Hurst Collection, illustrated in Williamson 1970, pl. LIX.

160

For condition reports visit: www.uppsalaauktion.se

161

978

978. A pair of Chinese export famille rose punch bowls. Each painted around the bodies with blue enamel and gilt flower sprays, below a border in famille rose colours with hash-work, small bouquets and a pendant tasselled fringe, with a further narrow band of blue enamel and gilt around the exterior and interior rims, painted in the centres with a single large flower spray, a band of blue dots around the foot-rings. Diameter: 29,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: From the service ordered for the Swedish noble family von Schultzenheim around 1800, thence by descent. 979

979. A Qianlong punch bowl. Diameter: 34,5 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

162

980. A Chinese ‘en grisaille’ punch bowl and dish with a Swedish bank note dated 1762. Period: Qianlong. Diameter: 32 cm (bowl), 37,5 cm (stand). / 100.000 - 120.000 / / 2 11.000 - 13.000 / Literature: Jan Wirgin, Från Kina till Europa, exhibition catalogue Östasiatiska Museet 1998, illustrated page 195, pl. 215.

For condition reports visit: www.uppsalaauktion.se

163

981

981. A Chinese blue and white warming dish and cover. The stand with foliate edge and painted with hilly landscape with a man on a horse and attendant. Outlined by a diamond pattern border which is repeated on the rim, the flattened rim further decorated with scattered flowers, the pierced cover similarly decorated. Period: Qianlong. Diameter: 40 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

982

982. Part of a Qianlong famille rose dinner service. Twelve plates and a dish. Diameter: 22 cm, Length: 37,5 cm (dish). / 8.000 - 10.000 / / 2 850 - 1.100 /

983

983. A Chinese famille rose ‘double peacock’ dish. Of rectangular shape enamelled and gilt at the centre with a peacock and peahen perched on rockwork beside a large peony-blossom amongst various flowering branches, and another famille rose rectangular dish decorated with a boy on a buffalo in a watery landscape. Period: Qianlong. Length: 33 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: Manager Carl Magnus Friis (1904‑1996), thence by descent.

164

984

984. A Qianlong cider jug. European style decoration after Meissen. Height: 25 cm.

985

986

/ 5.000 - 6.000 / / 2 530 - 640 /

985. A famille rose bottle vase. Decorated around the rounded hexagonal body with a boy riding a buffalo, with a duck flying above and two further ducks nearby all in famille rose colours and gilding. Period: Qianlong. Height: 24,5 cm. / 3.000 - 4.000 / / 2 320 - 430 /

986. A famille verte teapot. Of square form with stiff upright handle, the body decorated in famille verte enamels with flowering plants and butterflies, with an associated cover. Period: Kangxi. Height: 19 cm. / 3.000 - 4.000 / / 2 320 - 430 / For condition reports visit: www.uppsalaauktion.se

165

987

988

987. A Chinese famille rose ‘Baragon Tumed’ bowl. The shallow bowl decorated on the exterior with an upper and lower band of the bajixiang (‘Eight Buddhist Emblems’) alternating with shou characters, the central register with the Buddhist emblems of the ‘Seven Regal Treasures’, the Wheel of the Law, the elephant, the horse, the jewel, a male deity, the Minister and the General, all supported on lotus thrones floating on a band of waves and within mandorlas, the interior decorated with a gilt, red, green and yellow-enamelled lotus flower set with the crossvajra as the heart, the base with an iron red Baragon Tumed mark in the centre. Diameter: 17,5 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: By descent to the present owner from her grandparents, in their home from the 1950´s. The Baragon Tumed mark to the base is, according to Gerald Davison in The Handbook of Marks on Chinese Ceramics, the “Mark of the West Wing of the Tumed Mongolian Banner” and applied to a service made to commemorate the marriage of the granddaughter of the Daoguang Emperor to a southern Mongolian prince. A bowl with this pattern in the British Museum is illustrated by S. Jenyns, Later Chinese Porcelain, London, 1951, pl. CXII (1).

988. A Pair of Chinese Mandarin vases. The baluster bodies of hexagonal section painted on each face with a figurative panel, above and below further smaller panels in iron-red, all reserved on a flowered honey-comb ground, the base glazed. Period: Qianlong. Height: 29,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

166

989

989. A Chinese wucai ‘dragon and phoenix’ bowl. The deep rounded sides rising from a short tapering foot to a slightly everted rim, painted around the exterior with a red and green scaly dragon galloping through scrolling flowering branches in pursuit of a flaming pearl, divided by a pair of plunging phoenix, all beneath a border decorated with the bajixiang divided by ruyi around the rim, the interior with a medallion enclosing a red five-clawed dragon writhing to reach a pearl amidst flames, all within double circles in underglaze blue repeated at the rim, the base inscribed with a Daoguang seal mark in underglaze blue. Period: Possibly of the period. Diameter: 16 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Provenance: gift to present owner’s parents in 1960’s. A pair of Daoguang bowls of this type is illustrated by Beurdeley and Raindre, Qing Porcelain, pl. 259; one from the Weishaupt Collection is illustrated by Avitabile, From the Dragon’s Treasure, 1987, pl. 79, and a pair in the Hong Kong Museum of Art was included in the Museum’s Exhibition The Wonders of the Potter’s Palette, Hong Kong, 1984, no. 100. 990

990. A pair of Chinese famille rose saucer dishes. Delicately painted in famille rose enamels with flowering branches, the back yellow with incised decoration, the centre white with blue seal mark of Qianlong. Diameter: 11,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / For condition reports visit: www.uppsalaauktion.se

167

991

991. A Chinese famille rose green-ground bowl. Of ogee form, painted around the exterior in famille rose colours with a leafy and blossoming branch of camellia, all against a bright light green scraffiato feather scroll ground, the interior white-glazed and the recessed glazed base inscribed to the centre with a square seal mark of Qianlong in underglaze blue. Period: 18th / 19th Century. Diameter 19,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 /

992

992. A Chinese famille rose yellow-ground bowl. Decorated with three roundels painted with the ‘hundred antiques’ and surrounded by scrolling floral branches, all reserved on a yellow ground and set between a polychrome key-fret band around the rim and crashing waves above the foot, the base with a Guangxu mark but later. Diameter: 19,5 cm. / 5.000 - 6.000 / / 2 530 - 640 / Provenance: Inherited from the present owners family, acquired before 1945.

993

993. A Chinese famille rose bowl. With rounded sides rising to an everted rim, supported on a short foot ring, the exterior decorated with bamboo, prunus, orchid and chrysanthemum, the base with a square red Daoguang mark. Diameter: 17 cm. / 4.000 - 6.000 / / 2 430 - 640 / Label: Nils Nessim 3897.

168

994

994. A pair of Chinese famille rose ‘landscape dishes’. Of round form, the shallow bowls rising from short feet to flattened wide sides, each dish painted on the interiors in famille rose enamels depicting one of the ten famous scenes of Jiangxi beneath an inscription in black calligraphy identifying the scenes, one decorated with the nanpu guifan (sails returning to the south shore) scene and inscribed on the base with a fourcharacter mark in iron red also reading nanpu guifan, and the other with the xishan diecui (the verdant landscape of West Mountain) scene and inscribed on the base with a four-character mark in iron red also reading xishan diecui. Period: 20th Century. Diameter: 18,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / The ten famous scenes of Jiangxi are: xuting yanliu (wispy willows at Xu pavilion), Tengwang gaoge (Pavilion of King Teng), donghu yeyue (shining moon above East Lake), huazhou chunxiao (Spring dawn on Island of Flowers),bailu gudong (the White Deer Cave), xunyang qiubo (the Spring boating scene by Xunyang Lake), Lushan pubu (waterfall on Mount Lu), nanpu guifan (sails returning to the south shore), xishan diecui (the verdant landscape of West Mountain), Magu xianjing (Immortal Magu’s temple).

995. A Chinese enamelled ‘landscape’ bowl. Painted to one side of the exterior in famille rose and verte palettes with a scene depicting a famous landscape or view, the scene includes figures, boats and dwellings inside a large walled compound built on a lake island surrounded by green and turquoise cliffs and arbored with various trees, with a descriptive fourcharacter inscription naming the scene and on the other side with an eight line poem with two small seal marks in red, the base painted with a four-character seal mark in red. Period: 19th / 20th Century. Diameter: 17,5 cm.

995

/ 8.000 - 10.000 / / 2 850 - 1.100 / Sets of enamelled bowls depicting famous landscapes and views are recorded by Geng Baochang in Mingqing Ciqi Jianding, Qingdai Bufen, p. 137. For condition reports visit: www.uppsalaauktion.se

169

996

997

996. 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 sixcharacter mark in blue on base. Period: 20th Century. Measurements: 8 cm x 8 cm.

997. A iron red and underglaze blue saucer dragon dish. In the centre an iron-red five-clawed dragon amongst billowing clouds. The back with a further two dragons and bearing the seal mark of Qianlong. Period: 20th Century. Diameter: 19,5 cm. / 6.000 - 8.000 / / 2 640 - 850 /

/ 4.000 - 6.000 / / 2 430 - 640 / 998

998. A Chinese iron-red brush pot, bitong. Of cylindrical form with slightly waisted sides and a flattened rim, decorated around the body with a mountainous river landscape with figures and buildings, fishermen out on the river, flocks of birds in the sky, the flattened rim with further landscapes, the base unglazed apart from a slightly recessed circular section glazed and painted with a six character mark of Guangxu in red, but later. Height: 14 cm. / 6.000 - 8.000 / / 2 640 - 850 /

170

999

999. A Wucai jar. Of baluster form, the wide shoulders flanked by animal mask handles, brightly painted with shaped cartouches of kylins perched on rockwork amidst crashing waves, divided by cartouches with dragons and leaping carp, all reserved on a red honey-comb ground. Height: 25 cm. / 4.000 - 6.000 / / 2 430 - 640 /

1000

1000. A Chinese Wucai vase, meiping. The swelling body tapering to a short neck and with a flaring foot, decorated around the body with a five-clawed dragon and a phoenix amidst stylized cloud motifs and in between upright plantain leaves on the neck and above the foot, the base with a six-character mark of Xuande in blue. Period: 19th Century. Height: 17,5 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Acquired by the present owners husband in Hong Kong in the 1960´s-1970´s.

1001. A Chinese greenglazed ‘dragon’ bowl. The deep rounded sides rising from a short straight foot to a wide and everted rim, incised on the exterior with writhing and scaly five-clawed dragons chasing the flaming pearl amidst clouds and above crashing waves, covered overall in a rich green glaze, the green-glazed base with a six-character mark of Kangxi in black. Diameter: 27 cm.

1001

/ 4.000 - 6.000 / / 2 430 - 640 / Provenance: Acquired by the present owners husband in Hong Kong in the 1960´s-1970´s. For condition reports visit: www.uppsalaauktion.se

171

1002

1002. 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 four-character Qianlong mark in red on a gilt ground. Height: 34 cm. / 20.000 - 25.000 / / 2 2.100 - 2.700 /

1003

1003. A Chinese famille rose ‘luohan’ bowl. The deep rounded sides rising from a short foot to a straight rim, decorated in soft famille rose colours and painted on the exterior with a continuous scene set in a mountainous and tree-lined river landscape, a tall pagoda appearing amidst the clouds, the scene depicting a group of luohans engaged in various pursuits and with their attributes, similarly decorated on the interior sides and with a central luohan seated together with various implements, the base painted in the centre with a square seal mark of Jiaqing in iron red. Diameter: 14 cm. / 4.000 - 5.000 / / 2 430 - 530 /

172

1004. A fine Chinese famille rose vase. The tall sides rising from a straight foot to a wide rounded shoulder and gently flaring, rolled neck, painted in soft famille rose colours and ‘en grisaille’ with a continuous scene set in a rocky terraced landscape, with waves crashing against the rock wall, in the distance behind misty mountains a pagoda palace can be perceived, in the foreground a group of animated luohans appear to be attempting to catch a small dragon painted in soft ‘en grisaille’ and depicted appearing amidst clouds just above the luohans, a further group of luohans together with a female immortal are seated or standing nearby, some paying attention to the dragon-catching enterprise, one luohan resting on a sleeping lion, others looking up towards three immortals, two riding on a phoenix or a lion-dog, dressed in long robes and crowns, emerging in the sky from soft iron-red clouds, around the neck an elaborate and ornately decorated band composed of beaded pendants with auspicious symbols suspended from the mouths of iron-red bats, large feathery leaves surrounding ruyi-heads surmounted by lotus and shoucharacters, and a thin band of key-pattern, around the foot a further elaborate band of lotus and archaic scrolls, the base painted to the centre with a square seal mark of Qianlong in iron-red. Period: Republic. Height: 39 cm.

1004

/ 25.000 - 30.000 / / 2 2.700 - 3.200 / Provenance: Olle Eriksson, present owners grandfathers uncle brought the vase to Sweden around 1920.

1005

1005. A pair of Chinese famille rose rouleau vases. The circular bodies painted in soft famille rose colours with ribbon-tied baskets filled with flowers, all in between a band of blue fish-roe pattern on the flattened shoulder, a collar of flowerheads suspending beaded and tasselled pendants around the necks and above a band of interlinked lotus around the feet. Height: 17 cm. / 5.000 - 6.000 / / 2 530 - 640 / For condition reports visit: www.uppsalaauktion.se

173

1006

1007

1006. A famille rose dish. Probably 19th Century. Diameter: 40,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

1007. A Chinese doucai chicken cup. Painted to the exterior with the scene of Jia Chang stamping his left foot to call the chickens in a setting of blue rocks and peonies, the reverse with a long poetic inscription, the base with a square seal mark of Qianlong in underglaze blue. Height: 6,5, Diameter: 8,5 cm. / 6.000 - 8.000 / / 2 640 - 850 / Compare with a pair of chicken cups illustrated in the catalogue ‘Catalog of the Special Exhibition of K’ang-His, Yung-Cheng and Ch’ien-Lung Porcelain ware from the Ch’ing Dynasty in the National Palace Museum’, National Palace Museum, Taipei, 1986, pl. 144.

174

1008. 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.

1008

/ 10.000 - 15.000 / / 2 1.100 - 1.600 / 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.

1009

1009. A Chinese doucai chicken cup. Painted to the exterior with the scene of Jia Chang stamping his left foot to call the chickens in a setting of blue rocks and peonies, the reverse with a long poetic inscription, the base with a square seal mark of Qianlong in underglaze blue. Period: 20th Century. Height: 6 cm, Diameter: 7 cm. / 4.000 - 5.000 / / 2 430 - 530 / Compare with a pair of chicken cups illustrated in the catalogue ‘Catalog of the Special Exhibition of K’ang-His, Yung-Cheng and Ch’ien-Lung Porcelain ware from the Ch’ing Dynasty in the National Palace Museum’, National Palace Museum, Taipei, 1986, pl. 144. For condition reports visit: www.uppsalaauktion.se

175

1010

1010. A small collection of famille rose porcelain. A pair of rouleau vases, a pair of small bowls on short feet with gently flaring rims, and a slender circular snuff bottle with a jade stopper, all exquisitely painted around the bodies in a matching decoration with a multitude of small roundels finely painted in soft famille rose colours and gilding and depicting small scenes with for example lotus, cranes with lingzhi mushrooms in their beaks and grasshoppers or shou-characters, butterflies and stylised flower-heads, the bases of the rouleau vases painted in the centre with six-character marks of Guangxu in red, the snuff bottle with a four-character mark in red and the bowls with six-character marks of Xianfeng in blue. Diameter: 8,5 cm (bowls), Height: 19,5 cm (vases), 8 cm (snuff bottle). / 6.000 - 8.000 / / 2 640 - 850 / Provenance: Nils Stensrud (1917‑2006), M.D. and art collector, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price. 1011

1011. A red-glazed Cadogan teapot and a brush washer. On a celadon ground splashed red. Brush washer splashed red. Period: 19th Century. Height: 15,5 cm (pot), Length: 10 cm (brushwasher). / 4.000 - 6.000 / / 2 430 - 640 / Provenance: Nils Stensrud (1917‑2006), M.D. and art collector, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

176

1012. A Chinese famille rose incense burner and cover. Modelled on a fifteenth Century form, the wide bowl on a tall splayed foot, the domed cover with a pierced band of flower-heads surrounded by leaves, finishing with a tall neck and a rounded bud-shaped knop, painted in lustrous famille rose enamels and gilding, the bowl decorated with lotus heads and scrolling tendrils on a turquoise ground between bands of ruyiheads and blue key-pattern around the rim and lappets around the foot, finished with further large flowerheads and scrolling tendrils on a turquoise ground, the cover similarly decorated on either side of the pierced band and painted with a red horizontal six-character mark of Qianlong on a gold ground at the rim, the neck with feathery leaves and ruyi-heads on a yellow ground, the bulbous finial decorated as a lotus head with rows of pink petals finished at the top with a golden knop. Period: 20th Century. Height: 44 cm.

1012

/ 6.000 - 8.000 / / 2 640 - 850 / Provenance: Nils Stensrud (1917‑2006), M.D. and art collector, thence by descent. Compare with a similarly shaped incense burner in blue and white porcelain with a Qianlong mark and of the period in the collection of the Victoria & Albert Museum, Museum number 206‑1885, included in Rose Kerr, ’Chinese Ceramics, Porcelain of the Qing Dynasty 1644‑1911’ V&A, 1998, No.43, and exhibited in Passion for Porcelain: Ceramic Masterpieces from the British Museum and V&A (National Museum of China, Beijing 22/06/2012‑06/01/2013) and Rare Marks on Chinese Ceramics (19/11/199828/05/1999). Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1013

1013. A Chinese famille rose vase. Decorated with two roundels either side of the ovoid body, painted in soft famille rose enamels with various flowering branches, insects and butterflies, all reserved on an ironred fish roe ground, the flared neck and everted foot with blue scroll work, the base with a square mark of Qianlong in red but later. Period: 20th Century. Height: 20 cm. / 3.000 - 4.000 / / 2 320 - 430 / Provenance: Nils Stensrud (1917‑2006), M.D. and art collector, 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

177

1014

1014. A pair of Chinese famille rose vases. Of baluster form, the ovoid bodies rising from foliate collars to flared trumpet necks with everted foliate rims, applied gilded chilongs clambering onto the shoulders, the necks flanked by small gilded kylin and pup handles, decorated around the body with groups of immortals divided by lines of calligraphy in gold, the shoulders painted with writhing dragons, the necks with little boys engaged in various pursuits, the flattened foliate rim painted on the interior with a garland of lotus, the bases glazed. Period: 20th Century. Height: 45 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 / Provenance: Director Hörstadius, Borås, was presented this lot as a gift in 1970, thence by descent.

1015

1015. A Chinese famille rose vase. Of hexagonal section and baluster form with a flaring rim, decorated with figurative scenes set in mountainous landscapes with immortals, scholars and other figures. Period: Late Qing. Height: 58 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 /

178

1016

1016. A pair 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.

1017

/ 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.

1017. A Chinese famille rose bottle vase. The rounded body tapering to a tall slender circular neck, decorated on the body with four large roundels each painted with auspicious objects, antiquities and vases holding flowers including lotus, set on a ground decorated with scattered flower-sprays, the shoulder with a band decorated with small shaped cartouches painted with ribboned auspicious objects reserved on a seeded ground with further scattered flowers, all below upright stylised leaves at the base of the neck and branches of finger citrus, pomegranate and peach extending up towards the rim finished with a band of honeycomb decorated with wan-symbols and flower-heads, a lappet band above the foot painted with beaded and pendant tassels, the base with a six-character commendation mark reading ‘Shen De Tang Bo Gu Zhi´(慎德堂博古制) in underglaze blue inside double circular lines. Height: 45 cm. / 20.000 - 25.000 / / 2 2.100 - 2.700 / For condition reports visit: www.uppsalaauktion.se

179

1019

1018

1018. A Chinese iron-red and ‘en grisaille’ vase. Of square section and slender flaring neck, finely painted and detailed in iron-red, ‘en grisaille’ and gilding with on each flat panel little boys engaged in leisurely pursuits, playing music and games. Period: 20th Century. Height: 25,5 cm. / 5.000 - 6.000 / / 2 530 - 640 / 1020

1019. A Chinese dragon vase. Of double gourd form the lower bulb painted with a five- clawed red dragon, repeated on the upper bulb around the foot a band of lappets, the rim with a further band of lappets. Qianlong mark, 20th Century. Height: 45 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

1020. A famille rose jar and cover. Daoguang mark, 20th Century. Height: 22,5 cm. / 4.000 - 5.000 / / 2 430 - 530 /

180

1021. A Chinese famille rose vase, fang hu. Of archaistic bronze form, the pear-shaped body rising from a gently spreading foot to a waisted neck, applied with two elegantly shaped gilt handles suspending moulded simulated silk tassels adorned with a moulded and gilded wan-symbol above moulded double fish and tasselled pendant chimes painted in a speckled robin’s egg-glaze, the body decorated on either side with a large roundel finely painted in soft famille rose colours, each depicting a mountainous treelined river landscape peopled by figures engaged in various pursuit and framed within gilt borders, set on a rich blue-glazed ground festooned with flowers and feathery leaves in famille rose colours, around the neck a band of elaborately decorated bats divided by feathery flower-heads reserved on a dark coral-red ground, below a further band of stylised upright plantain leaves in either light green or light blue glaze on a bright lemon yellow ground, around the gilded mouth rim a collar of interlinked ruyi-heads, the spreading foot with similar but pendant stylised plantain leaves on a bright yellow ground, the interior in a turquoise glaze, the recessed base in a turquoise glaze and painted in the centre with a square six-character seal mark of Qianlong in iron-red on a white ground, but later. Height: 40 cm. / 20.000 - 30.000 / / 2 2.100 - 3.200 / Provenance: Yngve Karlsson (1915‑1991) thence by descent. The vase came into the family in the 1950´s. For condition reports visit: www.uppsalaauktion.se

181

1022

1023

1022. A Chinese iron-red and gilt dragon dish. Painted and gilded to the center with a pair of dragons in flight in pursuit of a ’flaming pearl’, amidst scrolling clouds, repeated on the exterior, the dragons’ claws and teeth in white enamel, the base with a six-character mark of Daoguang in iron-red. Period: Daoguang mark and probably of the period. Diameter: 33,5 cm. / 4.000 - 5.000 / / 2 430 - 530 / For an almost identical dish mark and period of Daoguang, see Simon Kwan, Imperial Porcelain of the Late Qing, The Chinese University of Hong Kong, Hong Kong, 1983, pl.115, page 116.

1023. A Chinese famille rose vase. The ovoid body tapering to slender neck with a flaring rim, decorated around the body with vases bearing flowers and auspicious objects, the base with a six-character mark of Kangxi in blue, but later. Height: 46,5 cm. / 4.000 - 6.000 / / 2 430 - 640 /

182

1024

1024. A pair of famille rose stem cups. The rounded sides rising from tall spreading feet to flared rims, decorated in famille rose colours around the exterior sides with a continuous scene set in a rocky garden with two ladies seated by a rock-work table upon which rests a teapot, one lady holding a scroll, two boy attendants nearby, the scene divided by lines of calligraphy and set in between underglaze blue double circular lines around the rims and a blue stylised wave pattern at the base of the bowls, the feet decorated with pendant leaves and scroll work in underglaze blue. Period: Dated 1924, 20th Century. Height: 12 cm.

1025

/ 15.000 - 18.000 / / 2 1.600 - 1.900 / 1025. A Chinese famille rose vase. Of ovoid circular shape, the rounded sides tapering to a slightly narrower mouth, flanked by elephant head handles, on a short straight foot, decorated with a complex scene set in a mountainous riverscape with immortals, luohans and further figures arriving on the water or from the air to greet a seated dignitary, flanked by attendants, various red seal marks, the neck with an elaborate pendant and tasselled border, the base with a square seal mark in iron red on a gold ground. Period: 20th Century. Height: 41 cm. / 6.000 - 8.000 / / 2 640 - 850 / Provenance: A gift from the present owners grandmother from her brother, who lived in New York 1935- 1950´s, where he was given the vase. For condition reports visit: www.uppsalaauktion.se

183

1026

1027

1026. Two carved brush pots. Deeply carved in relief with scenes depicting a boy riding a buffalo. Height: 20,5 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

1027. A brush pot, bitong. Possibly zitan wood. Height: 18 cm. / 6.000 - 8.000 / / 2 640 - 850 /

184

1028. A stone group of flowers in a jardinière. Chinese, with different hard stones. Height: 46 cm.

1028

/ 10.000 - 15.000 / / 2 1.100 - 1.600 /

1029

1029. A ‘scholar’s rock’. Carved as stylised rock-work. On a wood stand. Height: 69,5 cm inclusive of wooden stand. / 15.000 - 18.000 / / 2 1.600 - 1.900 / Provenance: Formerly from a Norwegian family living in China during the 1910’s‑1920´s. For condition reports visit: www.uppsalaauktion.se

185

1031

1030

1030. A Chinese famille rose figure. Modelled as a lady standing on a square base, dressed in long robes decorated in various patterns and with an elaborate collar, one hand protruding from her long sleeves, her face with fine features and her hair swept up in a high chignon. Period: Late Qing. Height: 38 cm. / 4.000 - 5.000 / / 2 430 - 530 / 1032

1031. A Chinese ‘teadust’-glazed vase, fang hu. Of archaistic fang hu form, the hexagonal body supported on a pronounced foot, gently curving at the shoulders to a flared neck, flanked by a pair of tubular loop handles, covered all over in rich mottled dark olive-green glaze, the recessed base with a square impressed six-character reign seal mark of Qianlong. Height: 30 cm. / 4.000 - 6.000 / / 2 430 - 640 / A Qianlong vase of this shape, also with a teadust glaze, is illustrated in Chinese Ceramics from the Idemitsu Collection, Tokyo, 1987, pl. 965; a further vase of this form from the Hall Family collection was included in the exhibition Iron in the Fire, Ashmolean Museum, Oxford, 1988, cat. no. 89. Compare also a similar vase with a sky-blue glaze in the Hakutsuru Art Museum, Kobe, illustrated in Sekai tôji zenshû, vol. 12, Tokyo, 1956, fig. 46.

1032. A pair of Chinese bottle vases. The round bodies tapering to short necks, each painted in green enamel picked out in red with a lively dragon, another dragon swirling around the necks, both on a background of flowering branches and below bands of pendant stylized ruyi-heads around the rims and above lappet bands around the feet, the bases with a blue seal mark of Qianlong but later. Height: 24 cm. / 4.000 - 5.000 / / 2 430 - 530 /

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1033

1033. A white bowl. The interior with anhua decoration of a swirling dragon. Yongle mark, probably early 20th Century. Diameter: 22 cm. / 6.000 - 8.000 / / 2 640 - 850 /

1034

1034. A Chinese Kangxi-type ‘kylin’ bottle vase. Of squat bulbous form tapering to a long slender neck painted in underglaze iron- red with three kylin in different poses around the body, the eyes picked out in black, the base unglazed. Height: 12 cm. / 6.000 - 8.000 / / 2 640 - 850 / For condition reports visit: www.uppsalaauktion.se

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1035. A Canton famille rose tea service. Compricing: 14 tea-bowls, covers and saucers, 2 teapots with covers, 1 bowl, 2 milkewers, 27 extra covers, 2 extra saucers. Each piece finely painted in enamels with figures and calligraphy, the rims with thin gold lines, the two pots with the addition of roundels with figures engaged in leisurely pursuits. Period: Daoguang. Height of tea pots: 17 cm and 24 cm. / 50.000 - 60.000 / / 2 5.300 - 6.400 / 1036

1036. A Chinese famille rose hors d’oeuvre set. Consisting of eight shaped dishes fitting around a central oblong dish, each dish painted with an immortal together with their attributes on a turquoise ground, with red seal mark of Qianlong but later, set in a fitted wood stand. Length: 46 cm. / 4.000 - 5.000 / / 2 430 - 530 / Provenance: Åke Wallman (1901‑1979), Deputy commissioner Chinese Maritime Customs 1925‑1941, then commercial attaché in 1946 in Shanghai, thence by descent.

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1035

1037

1037. A set of eight plates and dishes from a dinner service. Canton, 19th Century. Length: 37 cm, 33,5 cm (two), 29,5 cm (two), Diameter: 25,5 cm (three). / 8.000 - 10.000 / / 2 850 - 1.100 / For condition reports visit: www.uppsalaauktion.se

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1038. A Qianlong famille rose dinner service. Each piece painted to the centre with scattered bouquets of flowers and birds in famille rose enamels with turquoise highlights, the borders with further bouquets of flowers. Comprising: a tureen and cover of oblong form with canted sides and hare’s head handles, the slightly domed cover with finial in the shape of a pomegranate, the seven platters in graduating size (length 30 cm - 42 cm) with shaped foliate edges, the 24 dinner plates (diameter 23,5 cm), 12 dinner plates (diameter 28 cm) also with foliate edges, 12 soup plates, 5 dessert plates, and a European style jug. Period: Qianlong. / 80.000 - 100.000 / / 2 8.500 - 11.000 /

For condition reports visit: www.uppsalaauktion.se

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1039

1039. Four porcelain plaques painted in underglaze blue. Period: 20th Century. 24 x 34 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 / Not examinated out of frame.

1040

1040. 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 placque: 25 x 25 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

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1041

1041. Four enamelled porcelain plaques. With signature Zhang Zhitang 张志汤. Of rectangular sections, whiteglazed and painted with Chinese zodiac animals. 74 x 21 cm. / 15.000 - 20.000 / / 2 1.600 - 2.100 /

1042. A porcelain plaque. With signature Ye Xunlei. Yi Gong and crane motive. Light crimson decoration. 31 x 24,5 cm. / 8.000 - 10.000 / / 2 850 - 1.100 / Not examinated out of frame.

1042

For condition reports visit: www.uppsalaauktion.se

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XIUZHANG WANG To be sold at the Modern Sale Thursday 11 June 2015, 12 noon

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Terms and Conditions for Buyers 1. Terms and Conditions 1.1 These general conditions are standard conditions between a bidder (“the Bidder”) and AB Uppsala Nya Auktionskammare (“UAK”). They apply to all auctions conducted by UAK. 1.2 The current version of these Terms and Conditions is published on the website and in the printed auction catalogs of UAK. 2. Registration 2.1 To participate in an auction, the Bidder has to be registered with UAK. Registration may be completed in one of the UAK offices or on the Internet (www.uppsalaauktion.se). 2.2 UAK is entitled to require the Bidder to establish his or her identity in connection with the registration process. The information that the Bidder shall provide in the registration process must be accurate and complete. The Bidder shall promptly notify UAK of any subsequent changes in his or her registration information. 2.3 Registration is conditional on the Bidder agreeing to these Terms and Conditions. 2.4 The Bidder acknowledges that before and/or after the registration, UAK may conduct a credit review (or equivalent) of the Bidder. 2.5 UAK is entitled, at its discretion and without providing reasons, to refuse registration and, where applicable, to deregister the Bidder with immediate effect or with a date to follow. In the event of deregistration, these general Terms and Conditions shall continue to apply to any bids that have already been submitted and purchases that have already been made. 3. Sales Are Made on Commission 3.1 All lots are sold on commission. Occasionally, UAK may sell lots in auctions for its own account in the few instances where UAK has come to be the owner of such lots while acting within the ordinary framework of its auction business, for example, after a sale has been cancelled. 4. ”As Is” Sales and Bidder’s Duties 4.1 All lots are second-hand and sold as is. 4.2 Since the lots are sold as is, the Bidder has a duty to conduct a thorough and extensive examination. 4.3 In light of the duty to examine, the Bidder shall determine the state and condition of the lot by means of a careful examination that shall be conducted prior to the auction. UAK shall not carry any liability in the event the Bidder neglected his or her duty to examine and UAK is further relieved from any liability for such things, matters or issues that the Bidder should have discovered upon fulfilling his or her duty to examine. 5. Description of Lots 5.1 Catalogue descriptions are made with care, but UAK is not responsible for any incorrect or incomplete catalog descriptions unless such inaccurate or incomplete information is substantial. 5.2 In determining whether a catalog description is substantially inaccurate or substantially incomplete, the estimate and origin of the lot shall be considered. The requirements of the catalog descriptions are generally lower for cheaper lots and/or lots comprising of nonSwedish objects than for other lots. 5.3 The determination of whether a catalog description is substantially inaccurate or substantially incomplete shall be made based on the knowledge available in Sweden and on the consensus among professionals in Sweden at the time of the auction.

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5.4 Catalogue descriptions are not always conclusive. The scope of the descriptions may vary as to the different lots. The descriptions are generally more comprehensive for lots sold on the Important Sales and less comprehensive for lots sold on the Decorative Sales. 5.5 If the catalog includes information in relation to inter alia authorship, authenticity, age, technique, provenance and condition of the lot, such information is intended only as general information and establishes the basis for the Bidder’s own examination and assessment of the lot. 5.6 Where a catalog description exists in different languages and there is a discord between these, the Swedish version shall prevail. 6. Amending and Supplementing the Description of Lots 6.1 UAK retains the right to amend and supplement a catalog description before the auction. Any changes or additions will be published on the UAK website. The Bidder is obligated to be informed of any such new information. UAK carries no liability for the Bidder neglecting the duty to be informed of any and all amendments, modifications or supplements concerning the descriptions of the lots. 7. Condition Reports 7.1 UAK may, but is not obligated, to provide, upon the Bidder’s request, a separate written condition report about the general conditions of a lot including any damages, repairs or similar information. The information in such a report shall be regarded in the same manner as the information in the catalog description: it is intended for the sole purpose of presenting the Bidder with the opportunity to undertake his or her own examination and appraisal of the lot. The condition report does not consequently relieve the Bidder from his or her own duty to conduct an examination. The liability of UAK for the information included in the condition report is thereby limited to the same extent as for incorrect or incomplete catalog information. 8. Liability for Defects 8.1 Since all lots are sold as is and since the Bidder carries the duty to examine the lots, UAK’s liability for any defects (damage, imperfections or such) of the lots is limited only to substantial errors found in the catalog descriptions. With the exceptions that derive from the following paragraphs in this section, UAK is also liable for defects of lots related to intentional errors and errors caused by gross negligence. 8.2 The aforementioned provisions entail that UAK is not responsible for the ordinary wear-and-tear or for minor damages and imperfections, such as canvas hoisting, condition of frames, natural changes in materials, including but not limited to paper discoloration and cracking of wood, even when these conditions are not shown in the catalog description of a lot. Such defects are not grounds for any claims. 8.3 Illustrations in catalogs, on the UAK website, or in condition reports are for identification purposes only, and UAK is not liable or responsible in the event that any damages, imperfections or such could not be identified in these images. 8.4 Clocks, clockwork and mechanical or electrical lots are sold as art objects and UAK is not responsible for such objects operating as timepieces or otherwise in any technical manner. 8.5 UAK shall never be liable for information concerning any lots that may be provided orally.

Terms and Conditions for Buyers 9. Claims, Limitation of Liability 9.1 Any defects shall always be made known to UAK immediately after the Bidder has noticed or should have noticed the defect, and in any event within 14 calendar days from the auction date. Objections concerning the originator of the work may be made up to two years from the day of the auction. 9.2 All complaints shall be made in writing. 9.3 If the specified deadlines for submitting a complaint are not observed, the Bidder is not entitled to seek relief for any such defects. 9.4 UAK has the right, at its own cost, to rectify any errors or defects in the lots sold for which UAK is responsible, including allowing for the repair of damaged lots. If the value of a lot is subsequently lower than it would have been had the error or defect not been present, the Bidder is further entitled to an equitable reduction in price. 9.5 Where substantial damages are present for which UAK is responsible, the Bidder has the right to cancel the purchase. 9.6 If UAK has the right to correct the errors or omissions by repairing the actual lots and/or to reduce the price, UAK (but not the Bidder, if it does not involve a substantial error or omission)

may instead choose to cancel the purchase. 9.7 UAK’s liability for defects shall always be limited to at most, and only upon the recovery of the lot, the refund of the hammer price plus commission, VAT and any resale rights. The Bidder is not entitled to further compensation. UAK is thus not responsible for any indirect damages that the Bidder may have suffered. 10. Estimate and Reserve Price 10.1 The estimate of a lot is based on a conservative valuation completed by UAK. The estimate serves as guidance only. The final hammer price may differ significantly, either upwards or downwards, from the estimate. 10.2 All estimates are made in Swedish crowns (SEK). 10.3 For guidance to Bidders, some estimates may be listed in currencies other than SEK, whereby a rounded approximate exchange rate may be used from the time the catalogues are printed. 10.4 Most lots receive a reserve price. Reserve prices are never made known to prospective buyers before the bidding is made public. Reserve prices do not exceed the estimates (lower estimate if estimate is an interval). Lots are not to be sold below the reserve price.

11. General Conditions for Bidding 11.1 A submitted bid is binding on the Bidder. 11.2 A submitted bid may not be withdrawn unless explicitly provided by these Terms and Conditions, as observed in paragraphs 13.5 and 14.7–8. 11.3 All bidding is done in Swedish crowns (SEK). 11.4 The Bidder is required to be registered with UAK. 11.5 UAK retains the right to require the Bidder to provide security or to provide references, which shall be deemed acceptable at the discretion of UAK. UAK also retains the right to determine an upper limit on the Bidder’s total purchase. 11.6 UAK retains the right, without providing reasons, to refuse the Bidder to participate in the bidding and, where appropriate, to expel the Bidder from UAK’s premises. 11.7 With identical bids, the first bid receives priority. 11.8 The auctioneer (the announcer) decides which sum shall determine that a bid is a new bid. This determination is done with regard to the price level in the ongoing bidding process. 11.9 The winning buyer of a lot is the bidder who submits the highest bid. This bidder enters into a binding contract to purchase the actual lot. 11.10 In the event of identical bids, uncertain bidding or disputes related to an ongoing bidding, the auctioneer shall decide which bid shall be given priority to effectuate a purchase or whether the bidding shall be reopened. 11.11 It is not permitted for the Bidder, whether on his or her own or by means of someone else, to manipulate the bidding process. 11.12 The decision of UAK and/or the auctioneer, under this section 11, is without appeal and carries no liability even if it were to cause the Bidder damages. 11.13 Bids may be submitted as follows in relation to the auctions that occur: Important Sales

Decorative Sales

In-person bids in the auction hall

Yes

Written absentee bids that are submitted in person or that are sent by fax, e-mail or regular mail

Yes

Internet bids submitted before the hammer auction begins

Yes

Yes*

Internet bid in real time during the auction

Yes

Telephone bids Yes *NB: Internet bids submitted before the hammer auction begins may not be revoked on the Decorative Sales

Yes

11.14 In addition to these general bidding conditions, as prescribed by this Section 11, specific conditions for different forms of bids shall apply, as set out in sections 12 through 16.

Terms and Conditions for Buyers 12. Specifics about In-person Bidding in the Auction Hall 12.1 In-person bidding in the auction hall may take place both at the Important Sales and at the Decorative Sales. 12.2 A bidder who wishes to bid in the auction hall shall apply for an auction paddle with a unique bidding number before the auction begins. 12.3 A bid is submitted by the Bidder when he or she clearly holds up his or her auction paddle, or when such bid is made with any other clear sign or with a clear voice. The winning bidder shall always display his or her auction paddle for proper registration of the purchase after the hammer has struck. 12.4 A bid delivered in the auction hall is binding and irrevocable until a possibly higher bid has been submitted. 13. Specifics about Bidding by Written Absentee Notice 13.1 Written absentee bids may be received for the Important Sales but not for the Decorative Sales. 13.2 Written absentee bids may be submitted in person to UAK or sent via fax, e-mail or regular mail. 13.3 Written absentee bids shall be submitted to UAK at the latest two hours before the start of the auction that includes the actual lot. 13.4 When a Bidder has submitted a written absentee bid, UAK will bid on behalf of the Bidder in the most favorable manner possible, up to the maximum bid. 13.5 A written absentee bid may be withdrawn no later than three hours before the start of the auction that includes the actual lot. Any withdrawal must be in writing. 13.6 The Bidder is responsible for purchases that may result from a written absentee bid being unclear or incorrect, from any written errors or for any other reasons. In the event of an inconsistency among various specifications in a written absentee bid, the reference to an auction number receives precedence over other specifications and UAK is entitled to assume that the auction number is listed correctly without checking with the Bidder. 13.7 The submission and the possible revocation of a written absentee bid shall be made at the Bidder’s own risk and UAK is not responsible for any delays resulting from errors, delays or inadequacies in telecommunications transmission, delivery by post or any other technical disruptions. Neither is UAK responsible for any damages that may occur if UAK neglects to execute a written absentee bid. Anyone who surely wants to participate in an auction is therefore invited to attend the auction in-person in the auction hall. 14. Specifics about Internet Bids Submitted Before the Hammer Auction Begins 14.1 Before the hammer auction begins, absentee bidding via Internet may be received both for the Important Sales and for the Decorative Sales. Different rules apply, however, for bids made at the different types of auctions, as explained below, including that Internet bids may not be revoked in the context of the Decorative Sales. 14.2 Absentee bidding via the Internet requires that the Bidder has an Internet customer account registered with UAK. Applications for Internet customer account must be made well in advance of the actual auction. 14.3 Absentee bidding via the Internet must be submitted to UAK no later than two hours before the hammer auction begins. 14.4 UAK will confirm by e-mail the receipt of absentee bids

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submitted via the Internet. 14.5 When a Bidder submits an absentee bid via the Internet, UAK will bid on behalf of the Bidder in the most favorable manner possible, up to the maximum bid. 14.6 On the Decorative Sales (but not on the Important Sales), the bidding is reported on the UAK website also ahead of the auction transferring to a hammer auction without the apparent identity of the bidder and without the maximum bid submitted being disclosed. The Bidder who has the highest Internet bid at the time when a Decorative Sale turns into a traditional hammer auction shall procure the lot if no higher bid is submitted in the auction hall, through the Internet in real time, or via telephone. During the hammer part of the auction, absentee bids previously received via the Internet will be monitored in the same manner, up to the specified maximum bid, as bids received in connection with the Important Sales. 14.7 An absentee bid via the Internet that relates to an Important Sale may be withdrawn no later than three hours before the start of the auction that includes the actual lot. Any revocation must be made via the Internet. 14.8 Since the Decorative Sales are conducted as open auctions where incoming bids are continuously presented, any bid submitted via the Internet in relation to such auctions may not be withdrawn and is therefore non-revocable. 14.9 The Bidder is responsible for purchases that are completed by means of an absentee bid via the Internet, even when such purchases are the result of a bid being unclear or incorrect due to errors in writing or for any other reasons. 14.10 The submission of absentee bids via the Internet and any possible withdrawal of such bids (where withdrawal is allowed according to the aforementioned terms) shall be made at the Bidder’s own risk and UAK is not responsible for any delays resulting from errors, delays, or inadequacies in telecommunications transmission, delivery by post or any other technical disruptions. Neither is UAK responsible for any damages that may occur if UAK neglects to execute an absentee bid via the Internet. Anyone who surely wants to participate in an auction is therefore invited to attend the auction in-person in the auction hall. 15. Specifics about Internet Bidding in Real Time During a Hammer Auction 15.1 Internet bidding in real-time during a hammer auction may be made both for the Important Sales and for the Decorative Sales. 15.2 Bidding via the Internet in real time entails that the Bidder participates in the auction during real time via the Internet. 15.3 Bids via the Internet in real time require that the Bidder has an Internet customer account registered with UAK. Application for Internet customer account must be made well in advance of the actual auction. 15.4 Bids via the Internet in real time are binding and irrevocable until a possibly higher bid has been submitted. 15.5 The Bidder is responsible for purchases that are completed by means of a bid which is linked to the Bidder’s log in real time, even when such bid, for example, has been given by mistake. 15.6 Bidding via the Internet in real time shall take place at Bidder’s own risk and UAK is not responsible for any delays resulting from errors, delays or inadequacies in telecommunications transmission, delivery by post or any other technical disruptions. Anyone who surely wants to participate in an auction is therefore invited to attend the auction in-person in the auction hall.

Terms and Conditions for Buyers 16. Specifics about Telephone Bids 16.1 Telephone bids may be made both for the Important Sales and for the Decorative Sales. 16.2 Bidding by telephone means that the Bidder participates in the auction in real time by telephone. 16.3 Bidding by telephone assumes that the Bidder informs UAK of his or her intent to participate in this manner, at the latest by 18:00 (Swedish time) the day before the actual auction day, while additionally UAK has the capacity to receive the telephone call by means of an available telephone line. 16.4 A Bidder who applies to participate by telephone shall indicate, in his or her application, the lots on which the Bidder wants to bid over the telephone and the telephone number where the Bidder wishes to be called during the auction. UAK shall confirm by e-mail a Bidder’s registration to telephone bidding. 16.5 Telephone bids are not accepted on a lot whose estimate is less than 3,000 SEK. 16.6 A person who applies to bid by telephone commits to bid at least the estimate (lower estimate if estimate is an interval) for the lots that the Bidder stated in the application. 16.7 Bids submitted by telephone are binding and irrevocable until a possibly higher bid has been submitted. 16.8 The Bidder is responsible for purchases that are completed as a result of an unclear or incorrect telephone bid. 16.9 Telephone bidding shall be conducted on the Bidder own risk and UAK is not responsible for interruptions, delays or other disruptions in telecommunications transmission or any other technical problems that prevent or hinder bidding. UAK is nor liable for damages that may occur if UAK does not call up a Bidder who signed up to participate by telephone bidding. Anyone who surely wants to participate in an auction is therefore invited to attend the auction in-person in the auction hall. 16.10 During a phone bidding process, UAK retains the right to record calls for documentation purposes. 17. Purchase Transfers 17.1 Purchase transfers or other instructions in regards to a buyer other than the Bidder are not permitted. 18. Purchasing Fees 18.1 When buying at the Important Sales, a bidder commission of 22,5 percent including VAT (18.0 percent excluding VAT) is added to the hammer price. 18.2 When buying at the Decorative Sales, a bidder commission of 22,5 percent including VAT (18.0 percent excluding VAT) is added on the hammer price. On the Decorative Sales, an additional fixed fee of 50 SEK including VAT (40 SEK excluding VAT) will be applied for every lot sold at the auction. 18.3 Value-added-tax (VAT) is payable on commissions and fixed fees but not on the hammer price. 18.4 On the lots submitted from outside the EU, an additionally import VAT of currently 12,0 percent applies. Lots on which this fee is applied are marked on the UAK website. 18.5 For lots that are protected by copyright law (usually this includes glass, prints, ceramics, paintings, furniture, silver and textiles, but not objects produced in more than a limited number of copies), the rules on compensation for resale rights as found in sections 26 n – 26 p of the Swedish Law (1960:729) on Copyright in Literary and Artistic Works (the so-called Droit de suite or the resale

rights) will apply. Compensation is payable up to a maximum of five percent and is charged for lots sold during the originator’s lifetime or 70 years thereafter. Compensation is not payable on sales where the hammer price is less than five percent of “prisbasbeloppet” (currently 2,200 SEK). Lots subject to resale rights are marked in the auction catalogs with the letter “D”. 18.6 The Bidder’s commission fee and, where appropriate the fixed fee and/or the fee related to resale rights along with the applicable VAT shall be paid by the Bidder. 19. Auction Results 19.1 The Bidder is required to verify if any submitted bid resulted in a purchase. 19.2 After the auction, the Bidder will receive a written confirmation by e-mail or post about any successful purchase. 19.3 The list of the final prices is published on the UAK website. 20. Payment 20.1 All payments shall be made in Swedish crowns (SEK). The Bidder is responsible for any exchange fees and currency fluctuations. 20.2 Full payment of auction lots shall be provided to UAK no later than ten calendar days after the last auction day of the auction round where the lot was sold. 20.3 Payment shall be made either by deposit in the UAK bankgiro account, plus-giro account or bank account or by Swedish bank card or by some major credit cards. When paying by card, the creditcard transaction fee levied by the credit card company (up to 2,5 % of the total) will be added. UAK does not accept cash payments. 21. Non-Payment 21.1 If full payment is not received on time, UAK will charge interest at 24 percent per annum on any outstanding amount. UAK also retains the right to charge a late-payment fee, in accordance with Swedish Regulation (1981:1057) for the compensation of debt recovery costs. UAK is additionally entitled to compensation for reasonable expenses resulting from debt collection and the performance of any other legal services in connection to proving and enforcing the claim and the recovering thereof. 21.2 In case of non-payment, UAK may also exercise at its discretion its rights by either immediately or at a later time cancel the sale and claim compensation for damages (including reimbursement of reasonable legal expenses) or without special notification to the Bidder sell, on its own or by external means, on the Bidder’s behalf the lot in question whether in the course of an auction or as otherwise deemed fit. If such event occurs, UAK alone may determine the estimate and reserve price to be applied, including the option that no reserve price shall be applied. When exercising its rights, UAK shall act reasonably and provide reasonable attention to the Bidder’s interests in relation to the sale. If a lot is sold in this manner, UAK shall retain payment of outstanding claims and the costs of the sale from the purchase price. Any excess amount shall be paid to the Bidder. If the sale price is insufficient to cover UAK’s debts and selling costs, the Bidder is obligated to pay the difference therein. 22. Retrieval 22.1 The successful Bidder must retrieve the auctioned lots no later than ten calendar days after the last auction day of the auction round when the lot was sold. No lots may however be retrieved before the full payment has been provided to UAK.

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Terms and Conditions for Buyers 22.2 If a lot is not retrieved within the prescribed period, UAK will charge a storage fee of 50 SEK including VAT (40 SEK excluding VAT) for each calendar day that the lot is not retrieved. For furniture and other bulky lots, a double storage fee will be charged. Alternatively, UAK retains the right to send lots not picked up on time to a forwarding company for storage. The Bidder shall then be liable to pay the actual costs charged by the forwarding company. 22.3 UAK also retains the right to sell, on its own or by external means, at auction or otherwise, a lot that is not picked up within 30 calendar days from the last auction day of the auction round where the lot is sold. At such sale, the relevant paragraphs concerning “non-payment” from section 21 shall apply. 22.4 UAK’s liability for sold lots is limited to 10 million SEK per lot. For lots that are not retrieved in due time, UAK carries no liability after the ten-day collection period. Consequently, any auction lot that is not collected in due time will be stored at the Bidder’s risk. 22.5 The transportation of auction lots from the UAK premises to the Bidder shall be paid by the Bidder. It is the responsibility of the Bidder to arrange such transportation whether by him or herself or with the help of a third-party. UAK may assist with arranging transportation but it assumes no responsibility for the performance of any transportation services. The risk associated with a purchased lot transfers to the Bidder when the lot is transferred out of the UAK premises, if the transfer of risk has not already passed to the Bidder under article 22.4. The Bidder is consequently advised to ensure that any transportation service is adequately insured. If UAK undertakes in exceptional circumstances to execute the transportation of a lot to the Bidder such transportation shall be at the Bidder’s risk. 23. Force Majeure 23.1 UAK is not responsible for damages caused by circumstances that UAK had not known or could not have not foreseen, for example such as changes in legislation, government action, currency restrictions, war or terrorist acts, extreme weather, fire or other accidents, errors in transmission or networks, shortages of transportation, general shortage of goods, lockouts, strikes, boycotts and blockades or other similar circumstances. These provisions apply regardless of whether the failure occurs in Sweden or abroad. In respect to strikes, lockouts, boycotts and blockades, the reservation applies even if UAK has taken, or is subject to, such actions. To relieve UAK from its obligations, the circumstances should prevent or significantly hinder UAK meeting its obligations in a timely manner. 23.2 If UAK’s performance of certain obligations is delayed by more than 180 calendar days due to a force majeure, as prescribed in the prior paragraph, the Bidder may cancel the current purchase without liability. The termination must be in writing. Upon such termination, neither UAK nor the Bidder is entitled to compensation from the other party. 24. Rights to Photographs 24.1 UAK ordinarily photographs the auctioned lots. UAK retains the right to reproduce, without the permission of or compensation to the Bidder, such representation of sold lots in its promotional materials or in any other context it deems fits and it may further disclose the price at which such lots were sold. 25. Video and Audio Recording 25.1 UAK retains the right to conduct audio or video recordings

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on its display facilities and auction premises. Such video and audio recordings may only be used in relation to disputes or criminal investigation. 26. Treatment of Personal Information 26.1 Any personal information that is submitted by the Bidder to UAK may be used by UAK in the administration and fulfillment of UAK’s obligations whether in relation to the Bidder, other customers, the auction business of UAK in general or to fulfill any such obligations required by law. Personal data may be used by UAK for market or customer analysis, for statistics purposes and for marketing functions, such as sending newsletters and invitations to events. Personal data may be supplemented with information obtained from public and private sources. Those wishing to correct or receive information about their personal data processed by UAK or to request that the personal information is not used for marketing purposes may so request of UAK in writing. 27. Confidentiality 27.1 UAK undertakes to retain and treat a Bidder’s personal and business information in a confidential manner and only to disclose such information to third-parties as required by law. 28. Consumer Protection Legislation 28.1 To the extent that mandatory Swedish consumer protection legislation such as the Consumer Sales Act (1990:932), contains conditions that are more onerous to the Bidder than these conditions, the conditions of the mandatory legislation apply instead, provided that the Bidder acted as a consumer. 29. Code of Ethics 29.1 In addition to these general Terms and Conditions, UAK shall apply the ethical rules that are promulgated from time to time by the Swedish Auction Association. These rules are available on www. auktionsforeningen.se. 30. Language 30.1 These Terms and Conditions are available in Swedish and English. In the event of any discord between these, the Swedish version shall prevail. 31. Modification of Terms and Conditions 31.1 Any individual changes or additions to these Terms and Conditions are only valid if they are confirmed by UAK in writing. 31.2 UAK may modify these Terms and Conditions at any time. An amendment shall enter into effect 30 calendar days after it has been published on the UAK website and it shall apply to bids submitted after the effective date. 31.3 It is the responsibility of the Bidder to keep him or herself updated about the current applicable version of these Terms and Conditions. 32. Dispute Resolution and Applicable Law 32.1 Any disputes shall be settled in accordance with Swedish law by the District Court of Uppsala. 32.2 To the extent that Swedish law permits, UAK retains the right to determine that a dispute, instead of being taken to court, shall be settled by arbitration pursuant to the following arbitration clause: Any dispute, controversy or claim arising out of or in connection with these standard Terms and Conditions and any individual alterations or additions thereto, or the breach, termination or invalidity thereof, shall be finally settled by arbitration administered by the Arbitration

Terms and Conditions for Buyers Institute of the Stockholm Chamber of Commerce (the “SCC”). The Rules for Expedited Arbitrations shall apply, unless the SCC in its discretion determines, taking into account the complexity of the case, the amount in dispute and other circumstances, that the Arbitration Rules shall apply. In the latter case, the SCC shall also decide whether the Arbitral Tribunal shall be composed of one or three arbitrators. The seat of arbitration shall be Stockholm. The language to be used in the arbitral proceedings shall be Swedish. In assessing whether there are reasons to refer a dispute to arbitration, UAK shall consider inter alia the amount in dispute, the complexity of the dispute, the need for a quick and confidential procedure and any other good reasons. UAK undertakes to exercise its rights under this paragraph reasonably. Entry into Force These Terms and Conditions shall apply to auctions that are held after 1 September 2012. Information on Export Permits According to the Swedish Law (1988:950) concerning cultural heritage etc., permits are required for the export of some older Swedish and foreign cultural goods from Sweden. For exports to countries outside the EU, it may also be necessary to obtain a permit under Council Regulation (EC) No 116/2009 on the export of cultural goods. Applications should be filed with the Swedish National Heritage Board, PO Box 5405, SE-114 84 Stockholm. UAK will provide the legislative text and the application forms. Further information can be obtained directly from the Swedish National Heritage Board (Riksantikvarieämbetet). Such information is also available on the National Heritage Board’s website www.raa.se. Whoever takes artifacts out of Sweden is responsible for applying and obtaining any necessary permits. The export of cultural goods without a permit is a violation of the Swedish Act (2000:1225) on Penalties for Smuggling and, if the offense is deemed serious, may lead to a sentence of up to six years in prison. Cultural objects taken illegally out of the country may also be forfeited to the Swedish Crown. Certain licensing authorities may determine, by means of prior assessments of the lots to be sold in some auctions, which lots may be subject to an export ban if a permit or license is thereby sought. Such determination is to be interpreted as an act of service and is not binding on the respective authorities. Export permits must consequently be sought for all artifacts that require permits to be taken out of the country regardless of whether they have been assigned a prior assessment or not. Export permits must therefore also be sought for objects that have not been assigned any preliminary export ban as a result of a prior assessment. Although any prior assessments completed by licensing authorities are not binding, the Bidder should nonetheless inform himself or herself of any prior assessments that the licensing authorities have conducted. Any preliminary assessments will be reported on the UAK website after UAK has received the information from the licensing authorities; with due regard that UAK may sometimes receive such information very close to the day of the actual auction.

Uppsala centralstation

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Telephone: +46 (0) 18 12 12 22

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

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Besöksadress: Dragarbrunnsgatan 73, 753 20 Uppsala Postadress: Box 184, 751 04 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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Besöksadress: Nybrogatan 20, Stockholm Postadress: Box 184, 751 04 Uppsala

gatan

Regerings

Norrlands

Stockholmskontoret

Nybrogatan

Hamngatan

Berzelii park

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Nybroviken

väg

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

Öppettider: måndag - torsdag, kl. 10.00 - 17.00. Lunchstängt 12.00-13.00

Kungsträdgården

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 Postadress: Box 184, 751 04 Uppsala

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Telephone: +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

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