Asian Sale 17 June 2016 by Uppsala Auktionskammare

ceramics and works of art

17 june 2016

asian sale

internationell kvalitetsauktion

important sale 14 - 17 june 2016 preview in stockholm at Nybrogatan 20, Stockholm

friday saturday sunday monday tuesday wednesday thursday friday saturday sunday

27 may 28 may 29 may 30 may 31 may 1 june 2 june 3 june 4 june 5 june

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

viewing in uppsala at Dragarbrunnsgatan 73, Uppsala

wednesday & thursday 15 - 16 june at 12 noon modern sale

17 june 2016

ceramics and works of art

asian sale

internationell kvalitetsauktion

16 juni 2016

del 1i : modern konst

modernt

internationell kvalitetsauktion

klassiskt

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

internationell kvalitetsauktion 17 june 2016

tuesday 14 june at 12 noon classic sale

8 june 9 june 10 june 11 june 12 june

uppsala auktionskammare

internationell kvalitetsauktion 14 juni 2016

wednesday thursday friday saturday sunday

friday 17 june at 10 am asian sale

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

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

请注意：参与本次亚洲艺术品拍卖，您必须预先登记注册并交付保证金。

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asian sale friday 17 june 2016

the sale for this catalogue will be conducted on friday 17 june 2016 at 10 am. for condition reports visit www.uppsalaauktion.se

payment & collection Monday - Friday 1 pm ‑ 5 pm. Not later than Wednesday 29 June 2016.

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

1200. A Chinese hanging scroll Hundred boys. With Fei Danxu’s signature and seal mark but later. Watercolour and ink on silk. Measurements: 118 cm x 53 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

1201. A Chinese hanging scroll Figures in landscape. With Zhao Bosu’s signature and seal mark but later. Watercolour and ink on silk. Measurements: 131 cm x 54 cm. / 8.000 - 10.000 / / 2 870 - 1.100 /

1202. Hanging scroll Scholars under pavilion in landscape. With the signature of Dai Wenjing (1388‑1462) but later, with two seals of the artist. Inscription reading’yibei tan yiqu bu jue xiyang chen,mo mayuan bifa, dai wenjin’. Ink and colour on silk hanging scroll. Measurements: 123 cm x 44,5 cm.

1203. A Chinese hanging scroll Wang Mu and phoenix. After Tang Yin/Bohu, 20th century. Watercolour and ink on silk. Measurements: 193 cm x 93 cm. / 5.000 - 6.000 / / 2 550 - 650 /

/ 6.000 - 8.000 / / 2 650 - 870 / Provenance: Acquired by the present owners father in 1955 in Beijing, thence by descent. For condition reports visit: www.uppsalaauktion.se

1204. A Chinese painting Of a scholar, he sits on a luohan bed, one hand holding a feather fan and the other an open book, resting his feet on a finely carved footstool. Watercolour, ink and gold on paper, framed. Period: Qing dynasty. Measurements: 101 cm x 64 cm. / 5.000 - 6.000 / / 2 550 - 650 /

1205. A Chinese hanging scroll Depicting a landscape with mountains, streams, pavilions, scholars and 100 cranes celebrating a birthday. With the signature of Yan Qiuhua (1885‑1970) inscribed and with two seals of the artist at the upper left corner, dated the year of Renshen, 1932. Watercolour and ink on silk. Measurements: 158 cm x 81 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: Acquired in the 1960’s by the present owner.

1206. A Chinese painting Depicting four birds flying or resting between Ziteng branches. With the signature of Sun Yu (1417-) and seals at the upper right corner, but later. Watercolour and ink on silk. Measurements: 108 cm x 52 cm. / 6.000 - 8.000 / / 2 650 - 870 / 1207. A Chinese hanging scroll Landscape with mountains, stream, pavilions, trees and a few scholars. After Wen Zhengming (1470‑1559), 19/20th century. Watercolour and ink on silk. Measurements: 151 cm x 43 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: Acquired by the present owners parents in Beijing 1956-59, 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

1208. A book of Qi Baishi’s paintings. Printed in May 1952 by Rong Baozhai. 22 pages. Measurements: 31 cm x 21,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

1209. An accordion-fold woodblock-printed book of Qi Baishi’s paintings Rong Baozhai, 15 pages of different calligraphies and paintings. Measurements: 31,5 cm x 42 cm. / 6.000 - 8.000 / / 2 650 - 870 / In original paper wrap. Provenance: Acquired by the present owner during the 1980´s.

1210. A Chinese hanging scroll Depicting a few cicadas flying between and resting on a willow tree. Zhou Rang (1860‑1936), signed and seal of the artist. Watercolour and ink on silk. Measurements: 137 cm x 67 cm. / 5.000 - 6.000 / / 2 550 - 650 /

1211. A Chinese hanging scroll Depicting two cranes standing in the water under reeds. Cai Heting (1909‑1976), signed and with seal marks of the artist. Dated the year of Xinsi, 1941. Watercolour and ink on paper. Measurements: 93 cm x 42 cm. / 4.000 - 5.000 / / 2 440 - 550 /

For condition reports visit: www.uppsalaauktion.se

1212. A woodblock-printed book of Sheng Ji Tu An illustrated chronological biography of Confucius. 105 pages, ink on paper. Qing, probably Kong Xianlan’s version from the 13th year of Tongzhi period i.e. 1874. Measurements: 29 cm x 41 cm. / 5.000 - 6.000 / / 2 550 - 650 / Provenance: Acquired by the present owner during the 1980´s.

1213. An accordion-fold woodblockprinted book of Wu Changshuo’s paintings Rong Baozhai. 12 pages of flower paintings. Measurements: 31 cm x 21 cm. / 4.000 - 5.000 / / 2 440 - 550 / In original paper bag. Provenance: Acquired by the present owner during the 1980´s.

1214. Liu Baojie (1963-) Monk in meditation. With signature and one seal mark of the artist. Dated the year of Bingyin, 1986. Watercolour and ink on paper. Measurements: 46,5 cm x 40,5 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: Acquired by the present owner directly from the artist.

1215. Liu Baojie (1963-) Gorge landscape in Sichuan, with the signature and two seal marks of the artist. Dated the year of Renwu, 1982. Watercolour and ink on paper. Measurements: 135 cm x 68 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: Acquired by the present owner directly from the artist.

For condition reports visit: www.uppsalaauktion.se

1216. Liu Baojie (1963-) Boat and bridge in landscape, with the signature and seal marks of the artist. Dated year of Jiazi, 1984 in Beijing. Watercolour and ink on paper. Measurements: 264 cm x 67 cm. / 25.000 - 30.000 / / 2 2.700 - 3.300 / Provenance: Acquired by the present owner directly from the artist.

刘宝杰 14

1217. Liu Baojie (1963-) Depicting a crow sitting on an edgy rock and staring at the stream, signed and with three seals. Dated the year of Dingmao, 1984 in Beijing. Watercolour and ink on paper. Measurements: 66 cm x 43,5 cm.

1218. Liu Baojie (1963-) Depcting a landscape with mountain, sailing boat and two cottages. Signed and with three seals of the artist. Dated the year of Bingyin, 1986 in Beijing. Watercolour and ink on paper. Measurements: 68 cm x 47 cm.

/ 4.000 - 5.000 / / 2 440 - 550 /

Exhibition catalogue: ’Mästare från Kina / Masters from China’, Liljevalchs Konsthall 1989, number 144.

Provenance: Acquired by the present owner directly from the artist.

For condition reports visit: www.uppsalaauktion.se

1219. Liu Baojie (1963-) Countryside scenery, with signature and one seal mark of the artist. Dated the year of Dingmao, 1987. Watercolour and ink on paper. Measurements: 45 cm x 66 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: Acquired by the present owner directly from the artist.

1220. A Chinese hanging scroll Landscape. With Qian Songyan’s signature (1899‑1986), 20th century. Woodblock print on paper. Measurements: 55 cm x 46 cm. / 4.000 - 5.000 / / 2 440 - 550 /

From the collections of Carl Fredrik Erikson (1878-1943) Lots 1221-1227

C. F. Erikson was employed by the Swedish mining and drilling company Svenska Diamantborrnings Aktiebolaget, and thus travelled around the world, working in Russia, Japan, Italy, Switzerland and also in China between the years 1914-1917. The Chinese called him Li-sheng – which meant `the quiet man in the woods´. He was a friend and colleague of other well known Swedes in China during the 1910´s, such as Johan Gunnar Andersson, Gustaf Wallenberg, Felix Tegengren and Karl Wilhelm Gerdhem. The objects in this sale from his collection were acquired 1914-1917 and have since remained in the family. For condition reports visit: www.uppsalaauktion.se

1222. A Chinese etched rose-pink enamel vase Of ovoid form, the rounded sides rising from a straight foot to a wide shoulder and a tall neck with a slightly cup-shaped mouth, decorated on the exterior with an etched pattern in white of complex branches and flowers all on a pink ground, the mouth rim gilded and the interior in a light turquoise glaze, the recessed base also in a very light turquoise glaze and painted with a blue sealmark of Qianlong. Period: Early 20th century. Height: 17,5 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China in the 1910´s working for Svenska Diamantborrningsbolaget. Rose-pink enamel seems to have first appeared in the Chinese palette at the end of the Kangxi period. It is reported by W.D. Kingery and P. B. Vandiver in ‘The Eighteenth century change in technology and style from the famille verte to the famille rose palette’, Technology and Style: Ceramics and Civilization – 2, Ohio, 1986, that this color enamel was made not by precipitation but by making up a ruby glass and grinding it up as a pigment to be dispersed in the clear enamel.

1221. A Chinese hanging scroll Painted with a falcon perched on a pine branch, the feathers and claws of the bird well-delineated, above the scene groups of calligraphy in varying scripts and red sealmarks. Measurements: 79 cm x 38,5 cm. / 4.000 - 5.000 / / 2 440 - 550 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China in the 1910´s working for Svenska Diamantborrningsbolaget.

1223. 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. / 30.000 - 40.000 / / 2 3.300 - 4.400 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China during the 1910’s working for 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.

1224. 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. / 30.000 - 40.000 / / 2 3.300 - 4.400 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China during the 1910’s working for 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. For condition reports visit: www.uppsalaauktion.se

1225. A pair of Chinese blue and white ‘dragon’ bowls and a saucer Each with rounded sides rising from a short foot to a very slightly flaring rim, the exterior finely painted with two striding five-clawed dragons chasing flaming pearls all amidst flame scrolls and above crashing waves, the bases painted with blue six-character marks of Guangxu. Diameter: 11,5 cm and 19 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China in the 1910´s working for Svenska Diamantborrningsbolaget.

1226. Chinese blue and white hat stand Of circular section with pierced quatrefoil apertures, decorated around the body with ladies and dignitaries in a terraced landscape, the glazed base with a four-character Qianlong mark in blue but later. Period: 20th century. Height: 28 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: Carl Fredrik Erikson (1878‑1943), thence by descent. Acquired whilst living in China in the 1910´s working for Svenska Diamantborrningsbolaget.

1227. 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 whilst living in China during the 1910’s working for 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

1228. A fine Eastern Tibetan or Tibeto-Chinese Thangka Painted in distemper on cloth, in the centre a Bodhisattva in gold, presumably Vajrapani, holding in both hands the stems of utpala lotuses rising to the shoulders along the elbows, one supporting his emblem the double vajra, sitting with his feet crossed in kurmasana ”like a turtle” on an elevated lion throne with a multicoloured lotus, surrounded by a richly decorated torana with flowers and different mythological creatures such as a Garuda, Nagas, Makaras, elephants, rams and boars, at the bottom the eight Buddhist emblems of good luck, ashtamangala supported by lotus flowers, at the top a parasol and hosts of heavenly fairies, dakinis, bringing all kinds of offerings. The painting is set within a framework (thang ka´igos sam) of silk and brocade. Period: Late 18th century / ca 1800. Measurements: 110 cm x 70 cm. / 100.000 - 150.000 / / 2 11.000 - 16.000 / Provenance: Acquired by the present owners´ parents in the late 1930´s.

For condition reports visit: www.uppsalaauktion.se

1229. A gold-lacquered bronze figure of Guanyin Cast seated in dhyanasana with right hand held in front of the chest and the left hand holding an attribute, dressed in loose, flowing robes with chased floral borders, the contemplative face framed by the knotted plaits and elongated earlobes suspending ornate earrings, the elaborate tiara centred by a figure of Amitabha Buddha. Period: Late Ming. Height: 32 cm. / 8.000 - 10.000 / / 2 870 - 1.100 /

1230. Two bronze figures of standing Daoist deities Each modelled standing wearing long flowing robes incised at the hems from which tassels and ribbons hang, both with their hands concealed by the long sleeves, one with a long wispy beard the other with a bare chin, both wearing tall elaborate headdresses. Period: Late Ming. Height: 26,5 cm. / 6.000 - 8.000 / / 2 650 - 870 /

1231. A Nepalese bronze figure of the Goddess Durga The multi-armed goddess holding various attributes in her many hands, standing with one foot resting on a small animal and a further small figure seated at her other foot. Period: 18th / 19th century. Height: 15 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Sold at Sotheby´s New York, March 16‑17 1988, sale 5693, lot nr 223, illustrated.

1232. A Tibetan bronze figure of green Tara Seated in lalitasana on a double-lotus base, the right hand held in varadamudra and the left raised to the chest in vitarkamudra, both supporting utpala lotuses rising to the shoulders along the elbows, wearing a dhoti and a loose shawl over the shoulder, adorned with bejewelled necklaces around the waist and the chest, the face with a benevolent expression, crowned with a tiara in front of a high chignon. Period: 17/18th century. Height: 9,5 cm. / 5.000 - 6.000 / / 2 550 - 650 / Provenance: Acquired by the present owners husbands grandfather whilst on the Swedish ship ”HMS Vanadis”. This steamship sailed between 1862‑1893. For condition reports visit: www.uppsalaauktion.se

1233. A gilt bronze figure of seated Buddha Cast in three parts seated in dhyanasana on a detachable hemispherical lotus pedestal rising on a stalk from a hexagonal stand, his hands resting in dhyanamudra, the face with downcast eyes and a meditative expression adorned with an urna on the forehead, the hair tightly curled around the protuberant ushnisha, wearing loose robes decorated along the hems, draped around the shoulders and open revealing the bare chest with a wan symbol and an inner garment tied at the waist. Period: Late Ming. Height: 29 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 /

1234. A gilt bronze figure of Xi Wang Mu The Queen Mother of the West is modelled seated on a plinth with her feet resting on the shaped base, and holding a gui tablet in front of her chest, her face is well cast with a meditative expression and downcast eyes, she wears layered robes with chased lotus scroll borders that fall in crisp folds, the benign face framed by pendant earring and surmounted by an elaborate ’phoenix’ crown with long trailing ribbons that surrounds her topknot. Period: Late Ming/Early Qing. Height: 26 cm. / 40.000 - 50.000 / / 2 4.400 - 5.500 / 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

1235. A gilt bronze figure of Guanyin Modelled seated cross-legged in dhyanasana, with the hands held in front of the chest, the right hand holding a small vessel, the left hand clasping a small pearl, wearing a dhoti and scarves with chased floral hems and adorned with elaborate jewellery, the face in a meditative expression with downcast eyes flanked by long-lobed ears below the elaborate tiara fronting a high chignon, surmounted by a figure of Amitabha and flanked by long knotted strands resting on the shoulders. Period: Late Ming, early Qing. Height: 18 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 / Provenance: Acquired by the present owners father in law in the 1950´s.

1236. A Tibeto-Chinese gilt bronze figure of standing Guanyin Modelled standing on an oval lotus stand, bare feet protruding from beneath the long flowing robes incised at the hems, tied at the waist and partly open at the chest revealing necklaces, the arms covered by the wide sleeves, with the elegant hands held up in front of the chest and holding a flowering lotus stem, the face serene with downcast eyes beneath sloping brows, straight nose, and pursed lips, the forehead centred by the third eye, flanked by long-lobed ears, flowing ribbons surmounted by a complex foliate tiara centred by Amitabha, the hair with tightly knit curls with traces of blue pigment, a gold knop over the ushnisha. Period: 18th /19th century. Height: 28,5 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 /

1237. A Chinese gilt bronze figure of Guanyin The deity modelled seated in dhyanasana, with the right hand in vitakamudra and the left in dhyanamudra, wearing long flowing robes incised at the hems, elaborate jewellery including pendant earrings and flowing ribbons surmounted by a complex five-leaf pendant crown, each pendant enclosing Amitabha, framing the serene face with downcast eyes. Period: Ming. Height 19 cm. / 20.000 - 25.000 / / 2 2.200 - 2.700 / Provenance: Present owners grandmother acquired the figure whilst travelling in the Far East in the 1920´s.

For condition reports visit: www.uppsalaauktion.se

1238. A magnificent and extremely rare dated Ming 15th century gilt bronze figure of a Bodhisattva The superbly cast gilt-bronze figure is shown seated on a beaded double lotus base in vajraparyankasana with hands in front his chest in dharmachakra mudra holding the stems of lotus flowers budding and blossoming at his shoulders, the graceful figure wearing bodhisattva jewellery including sumptuous crown, earrings, necklaces, bracelets, an embellished girdle and anklets, clad in a billowing dhoti, the face with gentle smile and elongated eyes, the hair in a high chignon finely incised behind the elaborate crown, inscribed in a line below the billowing hem of the dress at the front with: Zheng-tong ding-you nian (ding-you year of the Zhengtong reign). This corresponds to the 12th year of the Ming Zheng-tong reign, 1447. Further inscribed on the rim of the base with three characters reading Yang Pu-Ming (this is probably the donor’s name). Period: Zheng-tong. Height: 35 cm. / 1.200.000 - 1.500.000 / / 2 131.000 - 164.000 / Provenance: Dr Harald Nilsson, Ph.D (1896‑1983). Thence by descent to the present owner. Dr Harald Nilsson was a pharmacist, medical officer of health and an eminent researcher in his field. He was head of the Swedish National Pharmaceutical Laboratory and was one of the first in Sweden to be granted patents for several important medicines. During the Second World War he was responsible for securing the availability of vital medicines not only in Sweden but also in a number of other countries. He was on the Nobel Committee for selecting the Nobel Prize for Physiology/Medicine for a number of years. Dr Harald Nilsson was awarded a number of distinctions and honours, such as the French Legion of Honour in 1946, the foremost Swedish, Finnish, Danish, Norwegian distinctions after the war as well as from The Netherlands and Romania. He and his wife were known as keen art collectors and the figure in this sale was a gift to Dr Harald Nilssons wife from her husband. She had a great interest in philosophy and religions of the world. The figure was placed in a lacquered cabinet during many years in a drawing room in their home named the ”Chinese drawing-room”, designed in Chinese style.

For condition reports visit: www.uppsalaauktion.se

A bodhisattva, or ”enlightened being,” is a compassionate being who has gained enlightenment but who has postponed entry into final nirvana in order to assist other sentient beings in gaining enlightenment. Because they will become a Buddha, once all other sentient beings have attained enlightenment, a bodhisattva is portrayed in the guise of an Indian prince, which the Historical Buddha was before he became the Buddha - that is, in his early life. Gautama Siddhartha (traditionally, 563‑483 BCE) was the crown prince of a small state in the foothills of the Himalayas, but then he rejected worldly life, renounced all claim to his inheritance and to his father’s throne, espoused the religious life, gained enlightenment and became the Buddha Sakyamuni. Thus, as did the Buddha in his youth, a bodhisattva wears a dhoti around the waist, hips and legs and a scarf over the shoulders and around the arms, and is adorned with a wealth of jewelry, from necklaces and earrings to bracelets, armlets and anklets, as does this magnificent figure. The long hair typically is arranged in a high chignon on top of the head, the crown encircling the chignon a reference to the Historical Buddha’s princely status in his youth. The hands held in the position dharamcakramudra, or the ‘Wheel of Dhama’, symbolises one of the most important moments in the life of the Buddha, the occasion when he preached his first sermon to his companions after his Enlightenment in the Deer Park at Sarnath. The three extended fingers of the right hand represent the three vehicles of the Buddha’s teachings, namely the ‘hearers’ of the teachings through the middle finger; the ‘solitary realisers’ through the fourth finger; and the Mahayana, or ‘Great Vehicle’ through the little finger. The three extended fingers of the left hand symbolise the Three Jewels of Buddhism, the Buddha, the Dharma, and the Sangha. This magnificent bronze is representative of a group of exquisitely cast gilt-bronze Buddhist figures made in China in the first half of the fifteenth century that display a style influenced by the art of Tibet with its complex iconography. It exhibits the technical precision, perfection and artistic grace that has come to be associated with the gilt-bronze Buddhist figures of the first half of the 15th century made in a style known as Tibeto-Chinese. In the preceding century, under the Yuan dynasty, the authority of Mongol rulers had become closely associated with Tibetan Buddhist or lamaist ritual and this had become very influential in the Chinese court and reflected in the art so favoured in Tibet that was clearly influenced by Newar artists from Nepal such as Aniko (1244‑1306). During the reign of the Emperor Yongle (1403‑1424), who was probably introduced to Tibetan Buddhism around 1380, there was a renewal of relations. Yongle moved the capital back to Beijing and had a new splendid Imperial palace built, the famous Forbidden City. For the construction of the huge palace and the running of the Imperial workshops he asked Nepalese and Tibetan artisans, just as his predecessors the Mongols had done. Missions to Tibet during this period sought to maintain good relations with the Tibetan lamas. Many Tibetan hierarchs were invited to the Chinese capital, where they were feted and presented with valuable gifts.

Gifts court

continued to be even after the

exchanged with the Chinese hierarchs returned to Tibet.

During the following reign of Xuande (1426‑1435) the relations between Tibet and China positively flourished, the number of Tibetan lamas who came to stay in the monasteries in the Chinese capital rose to record numbers. Starting in 1430, Tibetan visitors began to ask for permission to reside in Beijing. They were welcomed, were given presents and allowed to stay. It is recorded that Tibetans began to stay in the Ming capital for extended periods during this time. It is interesting to note, however, that during the period of Xuande (1426‑1435) according to Karmay (1975) not a single mention is made in XZSL (1954) of exchange of presents. This is significant given the proliferation of such presentations in the preceding reign of Yongle. In the Zhengtong period (1436‑1449), however, three times presents from Tibet to the Ming court are recorded (see XZSL, p. 161, p. 188, p. 189.) but on no occasion are return presents of images said to have been made. Karmay (1975) points out that envoys from Helima continued to be received at the Ming court until the end of Zhengtong 1449 and that it is recorded in The Mingshi, chapter 331, that Helima sent eight missions between Yongle and the end of Zhengtong and that after he died, nothing came for a long time until 1495. Few dated figures from the Zhengtong period are recorded. The smaller figures were perhaps intended as personal gifts from the emperor to the Tibetan hierarchs and the larger sculptures were for temple worship. For further examples of dated figures from the Zhengtong period see: Uppsala Auktionskammare, June 2014, a figure of Manjushri, dated 1446 inscribed: ’Dispatched in the (cyclical year) bing-yin of the Zheng-tong reign of the great Ming’. Bing-yin year corresponds to 11th year of the Zheng-tong reign, i.e. 1446. The Victoria and Albert museum, FJ2305, a seated Bodhisattva dated 25th day of fourth month of fourth year Zhengtong 1439, from the Usher P. Coolidge collection, published in Heather Karmay, Early Sino-Tibetan Art, Warminster, 1975, pl. 56, page 95. The Art Institute of Chicago; gift of Robert Sonnenschein II, a gilt bronze figure dated to 1439 of the Zhengtong reign, 36.4 cms high, cat no.11, no.103. Selected bibliography: Heather Karmay, Early Sino-Tibetan Art, Warminster, 1975. XZSL (Xizang shiliao (Tibetto shiryo) from Mindai Man Mo shiryo. Min jitsurokusho, General Editor J. Tamura, vol. 10, Kyoto 1954. The Chang Foundation, Buddhist Images in Gilt Metal, Taipei, 1993, Helmut Uhlig. On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zürich. A closely related figure is illustrated in Ulrich von Schroeder, Buddhist Sculptures in Tibet, vol. 2, Hong Kong, 2001, pl. 343F.

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1239. A Tibetan bronze figure of Amitayus The deity inset with turquoises and hardstones, cradling the overflowing kalasa in his lap and seated on a double lotus stand, with traces of cold gold paint and colour, not sealed. Period: 17th century or older. Height: 14 cm. / 6.000 - 8.000 / / 2 650 - 870 /

1240. A partly gold lacquered bronze figure of Guanyin Period: Ming. Height: 23 cm. / 5.000 - 6.000 / / 2 550 - 650 / Provenance: Mats Olof Gustafsson (1879‑1928), thence by descent in the family. According to family tradition this lot came to Sweden from Russia in the 1920´s after the Russian revolution.

1241. A Mongolian copper alloy figure of Amitayus, Pala style Cast in three parts seated in dhyanasana on a double-lotus base with beaded rims, cradling the overflowing kalasa in his lap, adorned with abundant jewellery, the face serene with almond-shaped eyes beneath sloping brows, straight nose, and pursed lips, flanked by round earrings and flowing ribbons surmounted by a foliate tiara, the hair pulled into a high chignon, with traces of cold gold, not sealed. Period: 18th / 19th century. Height: 17 cm

1242. A Mongolian repoussé gilt copper figure of Amitayus The figure seated in dhyanasana on a double lotus base, with hands in dhyana mudra, wearing elaborate jewellery inlaid with stones and dressed in a sanghati, the face with a benevolent expression, the hair in a tall chignon, a long, flowing scarf over the shoulders, the base sealed and engraved with a double vajra. Period: 18th century. Height: 18 cm. / 25.000 - 30.000 / / 2 2.700 - 3.300 /

/ 25.000 - 30.000 / / 2 2.700 - 3.300 /

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1243. A Rare Magnificent Gilt-Lacquer Figure of Buddha The figure seated in padmasana with right hand raised in vitarka mudra, the left hand held in dhyana mudra. The figure is wearing loose robes draped with a shawl that falls in graceful folds around the body, and is open at the chest to reveal an elaborate beaded necklace above a sash tied in a bow at the waist. The broad face is moulded with gentle expression. Period: Early Ming. Height: 48 cm. / 200.000 - 250.000 / / 2 22.000 - 27.000 / Provenance: Dr. Marko Weilgoni (1927‑2007), Malmö, Sweden. Thence by descent to the present owner. Exhibited: ”Kina i kejsartid”, Riksutställningar 1968. Aquired at the exhibition at Malmö Museum, Sweden in 1968. Illustrated: Exhibition catalogue to the above exhibition, nr 22, illustrated page 19. The technique of coating carved wood figures with gilt-lacquer appears to have emerged during the early part of the Ming dynasty and followed on into the Qing dynasty, echoing Buddhist bronze figures in form and decoration. A highly-valued material, but less expensive than bronze, such lacquer sculptures would have been commissioned and donated to temples by the gentry.

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1244. An unusual Tibetan gilt copper figure of a Mahasiddha Expressively cast with a small moustache and a bearded chin, the figure is modelled seated on an human skin over a lotus stand from which issues a kalasha (Tibetan: bumpa), he is wearing beaded festoons, round pierced earrings and jewellery inset with bright turquoises, one hand is held aloft and the other holding a skull cup, the hair arranged in a high braided chignon with strands falling over his shoulders. Period: 15th / 16th century. Height: 16 cm. / 200.000 - 300.000 / / 2 22.000 - 33.000 / Provenance: A private Swedish collection. Gilt-bronze figures of this deity started to be produced in China in early 15th century, under the reign of the Yongle Emperor (1403‑1424), who was a devout Buddhist himself. An alert facial expression with a moustache and a bearded chin is usually depicted in a Mahasiddha’s appearance. Compare with two related figures of Mahasiddha Virupa, dated to the 14th century, from the Museum Rietberg Zurich, illustrated by H.Uhlig in On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zurich, Zurich, 1995, Catalogue, nos.122 and 123. There are eighty-four Mahasiddhas of Tantric Buddhism who can be male and female, kings and beggars, young and old, monks and laymen who through experiencing different kinds of life crises, attain the realisation of the Buddha’s teachings leading to the status of a guru or a tantric master eventually. A Mahasiddha Gilded copper alloy, Tibet, 15th-16th century, sealed. Sitting in rajalilasana on a human hide the Mahasiddha has his right leg raised and his left resting on a double lotus throne, at his left knee a kalasha (Tibetan: bumpa), containing the elixir of long life, and in his left hand a scull cup, kapala, his right hand raised in an impressive gesture. Naked except för a loincloth around his waist, the Siddha is wearing jewel chains, necklaces, arm- and footrings, earrings and has his hair in the style of a yogi. The Mahasiddhas are a kind of spiritual masters with supernatural powers and commonly depicted in a set of 84 or more. This somewhat gruesome representation may correspond with the Mahasiddha Candali as shown on a scroll painting. A Tibetan text describes him as “a vein-wind-maker in the caste of fishermen”. Literature: Lavizzari-Raeuber, Alexandra, Thangkas: Rollbilder aus dem Himalaya; Kunst und mystische Bedeutung, DuMont, Köln, 3. Auflage, 1989, p. 217. Rhie, Marylin M. & Thurman, Robert A. F, The sacred art of Tibet, Rev. ed., Thames & Hudson, London, 1996, p. 146 f. Schmid, Toni, The eighty-five siddhas, Stockholm, 1958, p. 110 ff. We wish to express our gratitude to Karl Gunnar Gardell for this information.

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1245. A Tibeto-Chinese gilt bronze figure of Yama Dharmaraja Cast in two parts with the Lord of Death standing in pratyalidhasana on a recumbent bull crushing a man lying on his back, his head is that of a ferocious bull with bulging eyes, snarling mouth and flared nostrils, he is wearing his attribute the dharma wheel and a garland of severed human heads tied around his waist, with traces of red pigment and supported on a rectangular lotus pedestal. Period: 18th century. Height: 17,5 cm. / 80.000 - 100.000 / / 2 8.700 - 11.000 / Provenance: Acquired in China in the 1920´s or 1930´s by Sven Hedin, presented as a gift to the present owners grandfather in the 1930´s. Yama Dharmaraja was the Lord of Death in ancient Indian mythology but was adopted into the Buddhist pantheon as a Dharma (learning) protector. This fearsome god (known as the Outer or External form) is therefore one of the major protectors of Buddhist practice who confronts outer obstacles and protects practitioners (Sangha) from misfortune. The bull upon which he stands is ravaging the body of ignorant life beneath him.

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1246. A Chinese carved wood figure of a Daoist Immortal The immortal modelled seated sideways atop a Buddhist lion, wearing long robes with patterned hems, holding his hands up in front of his chest, his face in a serene expression with long wispy moustaches made from hair, he is painted in gold with black and red detailing, the animal is standing four-square with its head turned to the side bearing its teeth and with bulging eyes, all supported on a rectangular base. Period: 18th century. Height: 53 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: By repute formerly in the collections of one of archbishop Nathan Söderbloms sons, acquired 2 October 1971.

1247. A archaic bronze twin-handled vase, Fang Hu Of square section, supported on a tall, slightly splayed foot, the rounded body rising to a flaring square neck, the body flanked on opposite side with two moulded animal masks suspending loose ring handles, the recessed base with a large four character mark. Period: Probably Han period. Height: 33 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 / Compare with a square hu in the National Palace Museum Taiwan, illustrated in Shang and Chou Dynasty Bronze Wine Vessels, Taipei, 1978, pp. 220‑231, pl. 84, and p. 270 and and a hu with plain body and mythical beast handles illustrated by E. A. Voretzsch in Altchinesische Bronzen, Berlin, 1924, p. 177, pl.12, fig. 79.

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Property from the collections of Holger Rosell (1917-2009) Lots 1248-1252 Photo of Holger Rosell from 1977

1248. A pair of rare Chinese blue and white ’lotus bouquet’ miniature saucer dishes, mark and period of Yongzheng. Shallow bowls on short wide feet and with rounded sides, painted in the 15th century-style in shades of underglaze blue, each with a central roundel decorated with a large lotus bouquet with flowering stems, leaves, a pod and other water plants tied with a ribbon, and a single blue line around the rims, the exterior sides with simulated ’heaping and piling’ in a broad frieze of composite flower scroll, incorporating chrysanthemum, lotus, rose and peony, above and below blue lines around the rim and the foot, the whiteglazed bases inscribed in the centre with six-character reign marks of Yongzheng and of the period in blue inside double squares. Period: Yongzheng. Diameter: 9 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 / Provenance: Engineer Holger Rosell (1917‑2009).

1249. A famille verte incised ‘dragon’ bowl The deep rounded sides rising to a flared rim from a short straight foot, the exterior incised with two five-clawed striding dragons each in pursuit of a flaming pearl over which a cream glaze has been applied, the exterior is further brightly decorated over the incised decoration in yellow, green and aubergine tones with large branches of flowering peony and camellia divided by butterflies, the interior is covered in a cream glaze and left plain, the recessed base painted in the centre with a six-character mark of Kangxi and of the period in blue inside double circular lines. Period: Kangxi mark and period. Diameter: 15 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: Engineer Holger Rosell (1917‑2009). This unusual double decoration is found only on bowls of this design and corresponding dishes with pomegranates. A bowl of this pattern from the Riesco Collection is illustrated by Edgar E. Bluett, The Riesco Collection of Old Chinese Pottery and Porcelain, London, 1951, fig, 31a; a pair of similar bowls in the British Museum are illustrated by S. Vainker in Chinese Pottery and Porcelain, pl.154; another pair in the Victoria & Albert Museum, illustrated by Gulland in Chinese Porcelain, Vol.I, nos. 360 and 361; in Sekai Toji Zenshu, vol.12, pl.44; in The Catalogue of The Eumorfopoulos Collection, Vol.5, pl.XXXVIII, no.E200; and in Jenyns, Later Chinese Porcelain, pl. XXXV, fig.1; a further example illustrated by R. Krahl, Chinese Ceramics from the Meiyintang Collection, vol. II, London, 1994, pl. 889; another in Chinese Porcelain, The S. C. Ko Tianminlou Collection, Hong Kong, 1987, pl. 81; and a pair from the Chang Foundation is illustrated in Selected Chinese Ceramics from Han to Qing Dynasties, Taipei, 1990, pl. 121.

1250. A green-enamel ‘dragon’ dish The shallow rounded sides rising from a short slightly tapered foot to an everted rim, painted to the interior with a central medallion enclosing a green five-clawed dragon enamelled in translucent green, writhing amongst flames in pursuit of a flaming pearl, all within a green circle repeated at the rim, the exterior similarly decorated with a pair of five-clawed dragons striding in pursuit of a flaming pearl against an incised anhua ground of turbulent waves and rocks, the base with a six-character mark of Kangxi in blue inside double circular lines. Period: Kangxi mark and period. Diameter: 18 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 / Provenance: Engineer Holger Rosell (1917‑2009). For condition reports visit: www.uppsalaauktion.se

1251. A finely cast bronze mirror stand in the form of a single-horned mythical beast Modelled as a recumbent beast with a raised triangular head elegantly curved to one side and detailed with almond-shaped eyes and small ears flanking a twospiked single horn, its head gently turned towards its long tail, the hoofed beast with its legs neatly tucked in front and beneath the body, its back set with a stand detailed with moulded cloud formations surmounted by a crescent-shaped arch, further supporting a circular bronze mirror cast with auspicious symbols, animals, immortals and single characters in relief around the central knob. Period: 17th / 18th century. Diameter: 40,5 cm, total height: 56 cm. / 20.000 - 25.000 / / 2 2.200 - 2.700 / Provenance: Engineer Holger Rosell (1917‑2009). Mirror stands like these were very popular and made over a long period of time. See Rose Kerr, Later Chinese Bronzes, London, 1990, cat. No. 87 and a related mirror stand in the Musée Cernuschi, illustrated by Michel Maucuer, Bronzes de la Chine impériale des Song aux Qin, Paris, 2013, cat. No. 57. The example illustrated by Kerr from the Victoria and Albert Museum is cast in the form of a xiniu, a mythical single-horned animal and has tentatively been assigned to the Song / Yuan dynasty. The poise of the xiniu, depicted gently curving its head and revealing its sensitive yet noble expression, is also reminiscent of the countenance of the current sculpture.

1252. A Mongolian gilt bronze figure of Tingi Shalzangma seated on a mare The figure cast seated in lalitasana atop a recumbent mare on a lotus base and holding a round incised mirror with both hands, the face in a meditative expression, the hair gathered in a tall top-knot surmounted by a five-pronged crown and with elaborate earrings and necklace, dressed in loose fitting robes falling in folds around the body, the finely cast horse elegantly modelled with its neck and head curved towards the deity and with flaring nostrils, mouth agape, baring its teeth, and the mane and tail incised. Period: 18th century. Height: 22 cm. / 60.000 - 80.000 / / 2 6.500 - 8.700 / Provenance: Engineer Holger Rosell (1917‑2009). Tingi Shalzangma (mthing gi zhal bzang ma) is one of the five sisters of long life, protectoress of the Dharma. ’The five sisters of Long Life’, are: Tashi Tseringma (bkra shis tshe ring ma), she is white with one face and two arms, holding a golden nine-pronged vajra in her right and a long-life flask ornamented with an auspicious knot and a swastika in her left hand. Her mount is a white snow-lioness. Tingi Shalzangma (mthing gi zhal bzang ma), she is blue with one face and two arms, holding a silver mirror in her right and a banner of the gods in her left hand. She rides a mare. Miyo Lozangma (mi g.yo blo bzang ma), she is yellow with one face and two arms, holding a bowl with delicious foods in her right and a mongoose in her left hand. Her mount is a tigress. Chöpen Drinzangma (cod dpan mgrin bzang ma), she is red with one face and two arms, holding a wishfulfilling jewel in her right and a jewel encrusted casket in her left hand. She rides a hind. Täkar Drozangma (gtal dkar ´gro bzang ma), she is green with one face and two arms, holding a bushel of durva grass in her right and a snake noose in her left hand. Her mount is a female turquoise dragon.

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1253. An album Album with 145 photographs, mostly from the Forbidden City plus a plan of Tai Ho Men(太和门), Tai Ho Tien(太和殿), Chung Ho Tien(中和殿) and Pao Ho Tien(保和殿) with courtyards and surrounding buildings. Photographed in 1923 by W.O Möbius. Measurements: 29 cm x 39 cm. / 5.000 - 6.000 / / 2 550 - 650 / Provenance: W.O Möbius (1884‑1951), who lived and worked in Shanghai in 1917‑1935, by descent to his daughter. He travelled with Albin Stark (1885‑1960) to Beijing in 1923.

Property from the collections of Professor of Sinology Göran Malmqvist

Lots 1254-1259

1254. A Chinese hanging scroll Depicting a banana tree, plum blossoms and rock. Signed and seal of Hongzhi emperor (1488‑1505) in style of Qian Shunju/Qian Xuan (1239‑1301), and there is an appreciation attributed to He Shaoji (1799‑1873) to the lower right corner. Ink on finely woven silk. Measurements: 206 cm x 71 cm. / 20.000 - 25.000 / / 2 2.200 - 2.700 / Provenance: Professor of Sinology Göran Malmqvist. Acquired at Jiguzhai in Beijing, 1956.

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1255. A Chinese scroll of calligraphy 为善必昌 from right to left reading as’ Wei Shan Bi Chang’, translated as ’good deeds will have good returns’ Liu Zhengcheng (1946-), dated the year of Xinyou, 1981. Ink on paper. Measurements: 33 cm x 133 cm. / 4.000 - 5.000 / / 2 440 - 550 / Provenance: Professor of Sinology Göran Malmqvist. A gift from the calligrapher to Göran Malmqvist.

1256. A Chinese scroll of calligraphy Luo Qing (1948-), dated the year of Jisi, 1989. Ink on paper. Measurements: 69 cm x 69 cm. / 5.000 - 6.000 / / 2 550 - 650 / Provenance: Professor of Sinology Göran Malmqvist.

1257. A Chinese painting Depicting an amusing portrait of the character Sha Wujing from the classic book ’Journey to the West’. Lower left corner with an unidentified seal mark and an inscription in two Chinese characters reading Xiu Mu. Watercolour and ink on paper. Measurements: 67 cm x 43 cm. / 4.000 - 5.000 / / 2 440 - 550 / Provenance: Professor of Sinology Göran Malmqvist.

1258. Five rubbings of stone carvings from Wu Liang Shrine Of low relief stone carvings. Wu Liang ci (The Wu Liang Shrine) in Jiaxiang County, the province of Shandong. Wu Liang (77‑151 A.D.) was a member of the Wu clan of the Eastern Han period, most male members of which held high posts in government. Ink on paper. Measurements: 68 cm x 69 cm; 105 cm x 142 cm; 106 cm x 137 cm; 68 cm x 139 cm; 96 cm x 145 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Professor of Sinology Göran Malmqvist. Acquired in Beijing, 1956.

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1259. A carved white jade snuff bottle and another snuff bottle Of round flattened form on a moulded oval foot, the flattened sides flanked by carved animalhead handles suspending moulded rings, the stone of a pale white colour, with a red hardstone stopper, and together with a similarly flattened and rounded snuff bottle, the pale mottled stone with dark inclusions, with a red hardstone stopper. Period: Late Qing. Height: 7 cm and 6,5 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: Professor of Sinology Göran Malmqvist. Acquired at the Liulichang, Beijing in 1956.

1260. An elegant jade snuff bottle Of elegant tapering form, the stone of a pale colour with russet and green inclusion, the stopper with a coral red hardstone. Period: Jiaqing. Height: 7,5 cm. / 5.000 - 6.000 / / 2 550 - 650 / Provenance: Acquired by the present owner during the 1980´s.

1261. A celadon and russet carved jade archaistic vase The stone of a celadon tone with russet inclusions, with a rounded flattened body rising to a slender bulb-neck around which a long scaly dragon is clambering, moulded in relief and chasing a fiery pearl, the drum-shaped body carved on either side with a central roundel decorated with lotus in low relief and surrounded by a border of hatch-work and a leiwen band, all supported on a slightly everted foot. Period: 19th century. Height: 25 cm. / 25.000 - 30.000 / / 2 2.700 - 3.300 /

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1262. A jade snuff bottle Of flattened pear-shaped form rising to a slender circular neck flanked on either side by carved animalheads suspending moulded rings and incised on both sides with a four line calligraphic inscription, the stone of a pale colour, with a white stone stopper. Height: 8 cm. / 3.000 - 4.000 / / 2 330 - 440 /

1263. A rectangular jade belt buckle and a jade carved pendant Carved with decoration of deer in a wooded landscape, on the reverse side the buckle fixtures carved as an animal-head and a flower-head, of even pale celadon colour, together with a pendant carved as a piece of bamboo, the stone of a pale colour with dark inclusions. Length: 7,5 cm and 7 cm. / 25.000 - 30.000 / / 2 2.700 - 3.300 / Provenance: Formerly in the collections of Malte Bruhn, Denmark.

1264. A pale celadon jade ‘horse and monkey’ carving The horse modelled recumbent with its head turned backwards to face a small monkey clambering atop its back, the stone of a pale colour, together with a small plaque carved with a chilong in low relief. Length: 9 cm and 4 cm x 4 cm. / 4.000 - 6.000 / / 2 440 - 650 / Provenance: A former Swedish diplomat stationed in Beijing in 1958‑1959. The depiction of a monkey on a horse’s back represents the rebus ‘Ma shang feng hou’, which may be translated as ‘May you receive a swift promotion to a high rank of office’. This popular motif would have been used to confer good wishes to ambitious individuals within officialdom. A similar jade group dating to the Qianlong period is found in the Palace Collection in Beijing and is illustrated in The Complete Collection of Treasures of the Palace Museum, Jadeware (III), Hong Kong, 1995, p. 111, plate 91.

1265. A carved jade brush washer Of quatrefoil lobed form, the sides flanked by carved animal masks suspending loose rings, the stone of a pale colour with natural inclusions. Length: 17 cm. Height: 5,5 cm. / 4.000 - 6.000 / / 2 440 - 650 /

1266. A pale celadon jade bangle With rope-twist simulated carving, the pale stone with natural inclusions. Diameter: 8 cm. / 3.000 - 4.000 / / 2 330 - 440 /

1267. A carved archaistic jade ewer Of archaistic form, the body rising from a pedestal foot to a wide spouted neck flanked on one side with a stylised archaistic dragon handle and capped at the rim, a moulded animal head suspending a loose ring below the spout, carved in low relief on the body with archaistic motifs, the stone in pale colour with inclusions. Period: 19th century. Height: 14,5 cm. / 6.000 - 8.000 / / 2 650 - 870 /

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1268. A Chinese pale celadon green jade figure of Guanyin Dressed in a flowing robe cradling a child, and in her hand a loosely held necklace, standing on a stained ivory stand formed as crashing waves, at the side a carnelian model of a carp is diving into the waves and amusingly only his tail can be seen. Period: 18th century. Height: 11 cm. / 80.000 - 100.000 / / 2 8.700 - 11.000 / Provenance: From the collections of Emil Hultmark (1872‑1943), thence by descent. Exhibited: Emil Hultmarks Collection, Stockholm 1942, The Royal Swedish Academy of Arts, nr 631 in the catalogue. In the catalogue ‘Emil Hultmarks Samling’, Sveriges Allmänna Konstförening, Stockholm 1942, the catalogue description reads: “Figurin av grågrön jade, Kuan-yin med ett litet barn, stående på ett fotställ i grönmålat elfenben skulpt. i stiliserade skummande vågor varur stjärtfenan av en fisk i skulpt. karneol (agat) sticker upp. Chien Lung” [Figure in grey green jade, Guanyin with small child, standing on a stand made out of green-painted ivory sculpted as stylized foaming waves from which the tail of a fish sculpted in cornelian (agate) protrude. Qianlong].

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1269. A carved celadon and brown jade libation cup The cup carved with an animal handle and on one side of the cup with the carved motif of a chilong cleverly carved using the brown stone to one side. Length: 8 cm. Height: 4 cm. / 3.000 - 4.000 / / 2 330 - 440 /

1270. A carved agate brush washer Carved as a cupped lotus leaf with branches of flowering and budding lotus growing around the sides. Length: 7,5 cm. / 3.000 - 4.000 / / 2 330 - 440 /

From the collections of Iver Munthe Daae (1845-1924) Lots 1271-1280

As a young man of 22 years Iver Munthe Daae interrupted his studies in Christiania, Norway, at the time of his fathers death in 1866 and sailed for China. He served in the Chinese Maritime Customs Service 1867-1885 in Shanghai and in Peking 1885-1888 as head of the Customs Service. During the 1880Â´s he worked closely with the well known Chinese statesman Li Hongzhang. He returned to Norway for good in 1888 and set up Kalvild Pulp and Paper Board Mills and later retired to Kristiania, where he died in 1924. At his return to Norway in the late 1880Â´s Iver Munthe Daae brought back a large collection of Chinese art of predominantly porcelain from the Ming and Qing dynasties. Already in 1889 the Museum of Applied Arts in Oslo got the opportunity to purchase half of the Daae collection for the museum. The other half of the Daae collection was passed on within the family.

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1271. A Fine famille rose yellow-ground ‘bajixiang’ tray Of oval form on four elongated shallow feet, the tray top brightly decorated in vibrant enamels on a rich lemon yellow ground, in the centre a small lotus blossom surrounded by the Eight Buddhist Emblems, bajixiang, each against a background of ribbons and interspersed by lotus blooms borne on leafy scrolls, the interior and exterior rim decorated with floral sprays, the rim and foot with a gilt border, the base enamelled in yellow with an iron-red zhuanshu seal mark of Jiaqing reserved on a white ground. Period: Jiaqing seal mark and of the period. Length: 16,5 cm. / 80.000 - 100.000 / / 2 8.700 - 11.000 / Provenance: Iver Munthe Daae (1845‑1924), thence by descent. Iver Munthe Daae lived in China 1867‑1888. On his return to Norway half of his collection of Chinese art and porcelain was sold to the Museum of Applied Art in Oslo in 1889, the other half remained in the family. Very similarly depicted leafy lotus tendrils can also be seen on a Jiaqing mark and period lime-green-ground baluster vase in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl.172. The thick quality of the enamels, as seen on the present lot, is typical of the famille rose wares of the Jiaqing period. Famille rose yellow-ground wares were popular in the Imperial court during the mid Qing Dynasty, in the reigns of the Qianlong and Jiaqing Emperors. As the colour yellow was regarded as only for the Emperor, Empress and Dowager Empress, vessels and wares of this colour were especially prized. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1272. A Chinese blue and white three-piece ‘lotus’ altar garniture Comprising a censer and a pair of vases, the censer of globular form, decorated with meandering lotus scroll repeated on the three legs, below a ruyi band on the shoulder interrupted by a pair of pierced, upright handles similarly decorated and with a key-fret border along the edges, further key-fret borders encircling the rim, interrupted by a horizontal six-character mark of Qianlong but later, and around the base of the feet, the vases each of archaic gu shape with bell-shaped feet rising to convex central bulbs below a tall flaring neck, similarly decorated to the censer and with key-fret borders above the central bulbs interrupted by horizontal six-character marks of Qianlong but later. Height: 26 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: Iver Munthe Daae (1845‑1924), thence by descent. Iver Munthe Daae lived in China 1867‑1888. On his return to Norway half of his collection of Chinese art and porcelain was sold to the Museum of Applied Art in Oslo in 1889, the other half has remained in the family. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1273. A Chinese blue and white tripod censer and cover The censer of squat globular form, short straight neck and with two moulded Buddhist lion handles flanking the galleried rim, supported on shaped feet issuing from animal heads, decorated with blooms borne on scrolling branches, the cover pierced with a flower scroll and a Buddhist lion finial. Height: 19 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: Iver Munthe Daae (1845‑1924), thence by descent. Iver Munthe Daae lived in China 1867‑1888. On his return to Norway half of his collection of Chinese art and porcelain was sold to the Museum of Applied Art in Oslo in 1889, the other half remained in the family. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1274. Rare pair of blue and white ’bajixiang’ pricket candlesticks Each broad bell-shaped base vividly and densely decorated with scrolling lotus blooms interspersed with the Eight Buddhist Emblems, the bajixiang, below a band of interlocking ruyi-heads, surmounted by a drip-pan similarly decorated, the foot with key-fret motif. Period: 19th century. Height: 28 cm. / 20.000 - 25.000 / / 2 2.200 - 2.700 / Provenance: Iver Munthe Daae (1845‑1924), thence by descent. Iver Munthe Daae lived in China 1867‑1888. On his return to Norway half of his collection of Chinese art and porcelain was sold to the Museum of Applied Art in Oslo in 1889, the other half remained in the family. The candlesticks probably formed part of a five-piece altar garniture also consisting of an incense burner, and a pair of vases. The garniture, decorated with appropriate Buddhist iconography such as the Eight Buddhist Emblems, bajixiang and leafy lotus scrolls, would have been used for religious or ritual ceremonies. For similar shape and design compare with a pair of yellow-ground famille rose candlesticks, Jiaqing mark and period, in the Palace Museum, Beijing, illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.374. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1275. A collection of various objects Including a carved wood incense holder, three necklaces, a carved bracelet and a small sceptre. Height: 19 cm (incense holder). / 5.000 - 6.000 / / 2 550 - 650 / Provenance: Iver Munthe Daae (1845‑1924), thence by descent. Iver Munthe Daae lived in China 1867‑1888. On his return to Norway half of his collection of Chinese art and porcelain was sold to the Museum of Applied Art in Oslo in 1889, the other half remained in the family. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1276. A Chinese bronze vase, another bronze vase and a bronze figure of Amitayus The tall slender bronze vase modelled in the shape of a bamboo trunk with moulded bamboo leaves decorating the body, the base with an impressed sixcharacter mark of Xuande. Together with a further hexagonal slender vase incised with archaistic patterns and a bronze figure of Amitayus, Pala style, cradling the overflowing kalasa in his lap and seated on a double lotus stand. Period: the Amitayus figure probably 17th/18th century. Height: 14 cm-18,5 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: Iver Munthe Daae (1845‑1924), thence by descent. Iver Munthe Daae lived in China 1867‑1888. On his return to Norway half of his collection of Chinese art and porcelain was sold to the Museum of Applied Art in Oslo in 1889, the other half remained in the family. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1277. A Chinese carved hardwood throne-form mirror stand Of rectangular shape, divided into five sections, the crest rail is surmounted by a central flaming pearl and is flanked by dragon terminals, the side rails with further dragon terminals, each section is further divided into rectangular reticulated open-work panels and carved with figural scenes with boys at play, one riding a kylin, ladies and dignitaries in terraced gardens, and smaller panels carved with deer, kylin and phoenix, monkeys clambering on branches, carp leaping from cresting waves, with a shaped apron carved with floral sprays and surmounted by Buddhist lion dog finials, and a mirror support carved with a swirling dragon, the front is set with hinged door panels carved in relief with swirling dragons and clouds opening to reveal a partition of four drawers with two smaller drawers below and a larger drawer above each with flat handles shaped as double fish, the whole supported on short cabriole legs. Period: 18th / 19th century. Height: 93 cm, width: 55 cm, depth: 39 cm. / 20.000 - 25.000 / / 2 2.200 - 2.700 / Provenance: Iver Munthe Daae (1845‑1924), thence by descent. Iver Munthe Daae lived in China 1867‑1888. On his return to Norway half of his collection of Chinese art and porcelain was sold to the Museum of Applied Art in Oslo in 1889, the other half remained in the family. Mirror stands, taking their design from floor screens with fixed bases and inset panels, were placed on ladies dressing tables. The mirror would have stood leaning against the middle panel and be held up with a detachable carved U-shaped support. The drawers were used for storage of cosmetics and ornaments. The carp and the dragon represents the legend of the carp that swim against the Longmen rapids and emerge as dragons, this motif is a symbol of passing the imperial civil service examinations with distinction or of general scholarly eminence. The phoenix is associated with feminine beauty and virtues, the mythical bird is an appropriate motif for mirror stands. The phoenix is believed to only appear in the world when peace and prosperity prevail. Compare with an example, formerly in the collection of the Museum of Classical Chinese Furniture, published by C. Evarts in ’The Classic of Lu Ban and Classical Chinese Furniture,’ JCCFS, Winter 1993, p. 41, fig. 19, and in Wang Shixiang and Curtis Evarts. Masterpieces from the Museum of Classical Chinese Furniture, Chicago and San Francisco, 1995, p. 148, no. 70. Another mirror stand is illustrated in the exhibition catalogue, Chinese Hardwood Furniture in Hawaiian Collections, Honolulu Academy of the Arts, 16 January - 14 February 1982, p. 64, no. 46. 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

1278. A collection of snuff bottles and seal boxes Four snuff bottles in carved glass, one in porcelain painted with a large insect and a further bottle moulded as a recumbent animal, together with two round blue and white seal boxes in porcelain decorated with figural scenes. Height: 5,5 cm - 8 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: Iver Munthe Daae (1845‑1924), thence by descent. Iver Munthe Daae lived in China 1867‑1888. On his return to Norway half of his collection of Chinese art and porcelain was sold to the Museum of Applied Art in Oslo in 1889, the other half remained in the family. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1279. A Chinese doucai vase Decorated around the baluster body with the ‘hundred antiquities’ in soft doucai colours, set between upright stylised leaves on the neck and a band of scrolling branches in blue around the stepped foot, the base glazed. Period: 18th century. Height: 31 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: Iver Munthe Daae (1845‑1924), thence by descent. Iver Munthe Daae lived in China 1867‑1888. On his return to Norway half of his collection of Chinese art and porcelain was sold to the Museum of Applied Art in Oslo in 1889, the other half remained in the family. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1280. A Chinese blue and white vase The bulbous body rising from a short splayed foot to a wide gently everted neck, decorated around the body with alternating lotus and chrysanthemum wreathed by feathery scrolls below a collar of interlinked ruyi-heads and above a border of upright lappets, the neck with a band of keyfret from which issues stylised upright plantain leaves, a fleur-de-lys border around the exterior rim, the foot with pendant stylised leaves, the base glazed. With a wood stand. Period: 19th century. Height: 18 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: Iver Munthe Daae (1845‑1924), thence by descent. Iver Munthe Daae lived in China 1867‑1888. On his return to Norway half of his collection of Chinese art and porcelain was sold to the Museum of Applied Art in Oslo in 1889, the other half remained in the family. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1281. An Oriental relief of a male figure Height: 27 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: Erik Wirén (1877‑1958), thence by descent.

1282. An oriental cloisonné archaistic vase With a wide flaring foot, bulbous body and straight wide neck, the body flanked by archaistic handles, decorated with bands including colourful cloisonné stylised archaistic birds, the base with a raised seal mark. Period: 19th century. Height: 23 cm. / 5.000 - 6.000 / / 2 550 - 650 / Provenance: Erik Wirén (1877‑1958), thence by descent.

1283. 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 - 2.200 / Provenance: Erik Wirén (1877‑1958), thence by descent.

1284. 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 threeclawed 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 - 2.200 / Provenance: Erik Wirén (1877‑1958), thence by descent.

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1285. A large Chinese cinnabar lacquer box and cover Of lobed octagonal form, supported on a foot of conforming section, the layered cinnabar lacquer finely carved in relief, the cover formed as a raised lobed medallion with a scene of ‘the hundred boys’ on a terrace of three boys at a table in a pavilion, outside little boys are engaged in various pursuits, in the foreground rocky outlets from which old prunus trees emerge, a further four boys carrying presents are making their way towards the pavilion, to the right two boys in a boat in a watery landscape beneath a pine tree with gnarled trunk, further boys on a bridge, all around different species of trees and in the distance mountains, the peaks caught in swirling clouds, all within a key fret border, a lappet border surrounding the medallion, the sloping sides with eight lobes, each lobe with a panel containing a different flowering plant issuing from rock work, the panels alternating with Buddhist emblems, the foot similarly decorated, the interior and base covered with a lustrous black lacquer. Period: 18th century. Diameter: 44 cm. / 120.000 - 150.000 / / 2 13.000 - 16.000 / Provenance: From a Swedish private collection. Acquired in 1979 from the collections of Folke Isacson (1898‑1975). Two five-lobed boxes from the Qing court collection and still in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, pls. 7 and 8, the former carved with a scene depicting Wang Xizhi attending his beloved geese, and the latter with a scholar observing his attendants washing wutong trees.

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1286. A carved black and red lacquer box and cover Of circular form, the domed cover carved through the black lacquer to reveal the red lacquer ground with a large round cartouche decorated with a scene of scholars in a rocky landscape surrounded by cartouches containing bats alternating with shoucharacters around the sides, repeated on the exterior sides of the box, all reserved on a lattice-ground, the interior and the base lacquered black. Period: 19th century. Diameter: 32,5 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: From a Swedish private collection. Acquired in 1979 from the collections of Folke Isacson (1898‑1975).

1287. A cinnabar lacquer vase Of bottle form with long neck and flaring rim, the body with four roundels carved with people engaged in various leisurely pursuits in garden settings viz: two men playing the qin, two scholars reading books, a man walking along a path with his attendant who is carrying a scroll, the roundels separated by formal sprays of flowers all reserved on a background of key-fret pattern beneath a ruyi band, the neck similarly carved with panels of flowering plants reserved on a densely decorated ground of scrolling plants between borders of ruyi motifs on the shoulder and mouth rim. Period: late Qing. Height: 39,5 cm. / 6.000 - 8.000 / / 2 650 - 870 /

1288. A Chinese cinnabar lacquer box and cover Of circular form, the domed cover carved through rich layers of red lacquer with a central medallion enclosing the Eight Immortals and Shoulao together with a deer and a crane flying above, set in a tree-lined landscape with a pavilion and mountains, reserved on a diaper ground, the sides of the cover and box with cartouches enclosing floral branches on diaper grounds, divided by dense floral scrolls including finger citrus ‘Buddha’s hand’ and lotus, the rim of the foot bordered by a keyfret band, lacquered black to the interior and base. Period: 18th / 19th century. Diameter: 33 cm. / 20.000 - 30.000 / / 2 2.200 - 3.300 / Provenance: Wladimir Semcesen (1906‑1969), Oslo. Acquired in the 1950´s and 1960´s, thence by descent. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1289. Two unglazed pottery figure of a horse and a foreigner. The horse modelled standing four-square, with the head held high and vividly sculpted with flared nostrils and mouth agape below bulging eyes and heavy brows, the reins painted in black and with a red saddle set atop a padded blanket, the docked tail above the muscular legs, the foreign groom standing on a small square base with his hands positioned to hold reins, wearing a long coat with red pigment. Period: Tang. Height: 31 cm and 33 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Thermoluminescence Analysis Report samples No C97q54 and C 97q56 from Oxford dated 12 November 1997 included.

1290. A Chinese earthenware Bactrian camel Modelled standing foursquare on a rectangular plinth with its head raised and laden with saddle bags, covered in a light straw glaze. Period: Tang. Height: 37 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 / Thermoluminescence Analysis Report sample No C115b12 from Oxford dated 4 March 2015 included.

1291. A Tang pottery equestrian figure The horse carved in walking poise, with alert expression and open mouth, supporting a male rider astride a saddle dressed in wide-legged pants, layered robes and a tight-fitting helmet, his hands raised as if to tug on the reins, traces of pigment. Period: Tang. Height: 42 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 / Thermoluminescence Analysis Report sample No C111n60 from Oxford dated 18 October 2011 included. For condition reports visit: www.uppsalaauktion.se

1292. A Yixing archaistic animal-form water vessel, signed Xu Youquan Modelled in the form of a mythological animal with a plain hollow body of inflated ovoid shape, the fantastic beast resting on four recumbent legs, its onehorned grotesque head raised upwards with slightly opened jaws and bulging eyes, a ‘D’-shaped opening in the back fitted with a plain cover with loop u-shaped handle, the belly inscribed with the characters ‘wuwu qiuri youquan fanggu’ (made in imitation of the antique by Youquan in the autumn of the wuwu year’, the brown stoneware with fine buff speckling throughout. Length: 12 cm. Height: 11 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Archaistic animal-shaped teapots became popular during the 17th century particularly through the works of artists such as Xu Youquan and Chen Zhongmei. For further examples of archaistic animal-form teapots and a discussion on the subject, see K.S. Lo, 1986, pp.223‑227.

1293. A Yixing pot Of round form with a circular mouth, covered overall with a keyfret decoration. Period: 19th century. Height: 4,5 cm. / 3.000 - 4.000 / / 2 330 - 440 /

1294. An unglazed pottery figure of a prancing horse The horse modelled striding forward with the head held high and slightly to the side, the left foreleg raised up in animated gesture, the head vividly sculpted with flared nostrils and mouth agape below bulging eyes and heavy brows, with a small saddle set atop a padded blanket, the docked tail tied back from the well-defined, muscular legs. Period: Tang. Height: 51 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Thermoluminescence Analysis Report sample No C299a97 from Oxford dated 27 August 1999 included.

1295. A glazed pottery figure of a horse The horse modelled standing foursquare on a rectangular base with the head held high and slightly to the side, the head detailed with flared nostrils and mouth open below bulging eyes, heavy brows and pricked ears, the muscular neck emphasised by the mane, the back with an unglazed saddle set atop a similarly unglazed blanket, the docked tail tied back from the well-defined, muscular legs, the body of the horse covered in shades of amber glaze. Period: Tang. Height: 32 cm. / 20.000 - 25.000 / / 2 2.200 - 2.700 / Thermoluminescence Analysis Report sample No C200h79 from Oxford dated 4 January 2001 included. For condition reports visit: www.uppsalaauktion.se

1296. An incised white-glazed ‘dragon’ vase, Yuhuchunping Potted with a baluster body surmounted by a short neck and lipped mouth rim, the body incised with two pairs of dragons and phoenix with sinuous scaly bodies amidst flaming wisps and ruyishaped cloud scrolls, between delicate ruyi scrolls and a band of upright plantain leaves bordering the neck and foot respectively, applied overall save for the footing with a transparent glaze, the base bearing the sixcharacter reign mark of Jiajing in undeglaze blue. Period: 19th/ 20th century. Height: 23,5 cm. / 5.000 - 6.000 / / 2 550 - 650 /

1297. A Chinese Qingbai lobed ewer and cover Modelled with an eight-lobed body rising to a tall cylindrical neck flaring at the rim, set on one side with a slender, curved spout opposite a strap handle with a small ring at the top corresponding to a ring on the circular concave fitted cover with a floral bud knop, covered overall with a transparent pale blue glaze pooling to a darker tone within the recesses, the base and footrim unglazed. Period: probably Song. Height: 17 cm. / 6.000 - 8.000 / / 2 650 - 870 /

Property from the collections of MD Otto Lundquist and Envoy Constans Lundquist Lots 1298-1307

Otto Lundquist (1886-1950) Constans Lundquist (1891-1950)

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1298

1298. A southern celadon carved dish. Incised in the centre with flowering plants, the cavetto with radiating lines to the flat rim, the back covered in a celadon glaze apart from an unglazed ring showing the red body. Period: Ming. Diameter: 35 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoy Constans Lundquist (1891‑1950), thence by descent in the family.

1299. A Chinese carved ‘Yaozhou’ bowl The shallow rounded sides rising from a short foot to a flared everted slightly foliate rim, freely carved on the interior with a leafy stem bearing a peony blossom amidst leaves and a band of knife-carved lines encircling the exterior, covered overall in a translucent olive-green glaze pooling at the recesses. Period: Northern Song Dynasty. Diameter: 16 cm. / 50.000 - 60.000 / / 2 5.500 - 6.500 / Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoy Constans Lundquist (1891‑1950), thence by descent in the family. Bowls of this type with similar design and size are illustrated in Chinese Ceramics in the Idemitsu Collection, pl. 93; and by Wirgin, Sung Ceramic Designs, pl. 4 f; another was included in the Cologne Exhibition, Chinesische Keramik: Meisterwerke aus Privatsammlungen, Museum für Ostasiatische Kunst, 1988, Catalogue, no. 78; and a slightly larger one in the Museum of Decorative Art, Copenhagen, illustrated by Leth in the Catalogue of Selected Objects of Chinese Art, no. 93.

1299

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1300. A carved Longquan celadon barbed-rim dish The stoutly potted body with lobed rounded and ribbed sides rising from a short tapered foot to a broad everted barbed rim, carved on the interior with a double line medallion enclosing large leafy floral blossom, encircled in the lobed cavetto by panels of alternating floral sprigs repeated on the exterior sides, the wide barbed rim bearing an additional classic scroll border, applied overall with an olive-green glaze save for an unglazed ring on the base revealing the body. Period: Early Ming. Diameter: 44 cm. / 80.000 - 100.000 / / 2 8.700 - 11.000 / Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoy Constans Lundquist (1891‑1950), thence by descent in the family. The present charger is impressive for its large size and finely rendered design. It is a good representation of the high-quality celadon wares that were produced by the Longquan kiln during the fourteenth and early fifteenth century all characterised by their bold carved designs, comparable to the blue and white porcelain made at the same time at Jingdezhen. This type of celadon wares were popular for export to the Middle Eastern market. The Ottoman sultans particularly appreciated this type of dishes not only because of their attractive robust potting and large size but because it was believed that the glaze colour would change if poisonous food was served on them. Compare a very similar dish in the palace collection of Topkapi Saray Museum, Istanbul, illustrated in Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. 1, London, 1986, pl. 235; and in Ceramic Art of the World, Vol. 13, Liao, Chin and Yuan Dynasties, Tsugio Mikami, The Zauho Press, Shogakukan, Japan, 1981, pl.35, p. 49. A similarly decorated saucer dish is illustrated by Sullivan, Barlow Collection Catalogue, no. 99a; and a straight sided bowl with similar carving on the exterior illustrated by Zimmermann, Altchinesische Porzellane in Alten Serai, pl. 9 bottom. Krahl dates this type of Longquan dish with the floral design to around 1400.

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1301. A rare Ming yellow-ground dish, Hongzhi mark and period. Of large saucer shape with shallow rounded sides and lipped rim, the centre freely painted in soft tones of underglaze blue with a leafy gardenia spray bearing two large blooms and two buds, encircled around the well by fruiting branches of pomegranate, grapevine, persimmon and a ribbon-tied lotus bouquet, all between double line borders, the underside with a continuous camellia meander, the blooms spaced among leaves arranged in groups of three, all reserved on the translucent yellow ground, the base glazed white and painted to the centre with a six-character mark of Hongzhi and of the period inside double circular lines. Period: Hongzhi mark and period. Diameter: 27 cm. / 150.000 - 200.000 / / 2 16.000 - 22.000 / Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoy Constans Lundquist (1891‑1950), thence by descent in the family. An almost identical dish from the Kempe collection is in the Museum of Far Eastern Antiquities, Stockholm, accession number OM-1976‑0027, and illustrated in Oriental Ceramics, The World’s Great Collections, vol. 8, no. 226. A number of dishes of this pattern are in the National Palace Museum, Taiwan: one illustrated in the Catalogue of the Special Exhibition of Ch’eng Hua Porcelain, 1976, no. 139, another illustrated in the Catalogue, Blue and White Ware of the Ming Dynasty, Book IV, pl. 11, and two included in the Illustrated Catalogue of Ming Dynasty Porcelain, pls. 72 and 73. Another in the Metropolitan Museum of Art is illustrated in Oriental Ceramics, the World’s Great Collections, Vol. II. Col. Pl. 16, and by Valenstein, A Handbook of Chinese Ceramics, pl. 83. Others are illustrated in the Percival David Foundation, Catalogue, Section 5, pl. III, no. 26; in Mayuyama, Seventy Years, Vol. I, nos. 797 and 804; in the exhibition of Ceramics throughout China’s History from the Shanghai Museum, Japan, 1984, Catalogue, no. 80; in the Yamato Bunkakan Museum, Catalogue, 1977, no. 136; one from the Victoria and Albert Museum, by Hobson in The Wares of the Ming Dynasty, pl. 25, and again by Ayers in Far Eastern Ceramics in the Victoria and Albert Museum, pl. 153; from the Kempe Collection by Reidemeister, MingPorzellane, pl. 9; and from the Baur Collection in the Catalogue, Vol. II, no. A144. The ”Gardenia” dish first made an appearance in the Xuande period and continued through to the Jiajing reign. Designs of earlier periods were often revived at a later period but they rarely survived the changing patterns at court for a long period. However this design and a closely related version was made continuously from Xuande (1426‑1435) to Jiajing (1522‑1566) and thus shows the subtle changes that took place in materials and painting style.

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1302. A Chinese white-glazed vase, gu Of archaic bronze form, the flaring foot rising to a moulded band at the waist carved with key-pattern and from which issues the wide flaring neck, covered overall in a whitish glaze, the base with a collection sticker reading: ‘George Eumorfopoulos D.307’. Period: 17th century. Height: 11 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoy Constans Lundquist (1891‑1950), thence by descent in the family.

1303. A Chinese celadon crackle-glaze bottle vase Of compressed pear-shape, on a moulded foot and with a straight slender neck, covered overall in a light whitish glaze suffused with a dark crackle continuing on the recessed base, the foot ring left unglazed revealing the body. Period: 18th / 19th century. Height: 15 cm. / 5.000 - 6.000 / / 2 550 - 650 / Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoy Constans Lundquist (1891‑1950), thence by descent in the family.

1304. A Chinese blue and white ‘lotus’ dish The rounded sides rising from a short foot to a flared rim, delicately painted in inky shades of cobalt blue with a central roundel enclosing four lotus blooms borne on undulating leafy scroll within double-circles, the reverse similarly decorated with a wide band of flower scroll, the base with a six-character reign mark of Wanli within a double-circle. Period: Wanli mark and period. Diameter: 19,5 cm. / 80.000 - 100.000 / / 2 8.700 - 11.000 / Exhibited: Danderyds Sjukhus, 1974. Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoy Constans Lundquist (1891‑1950), thence by descent in the family. An almost identical dish also Wanli mark and period is in the collection of the Metropolitan Museum of Art, New York, from the Rogers Fund, 1917, Accession Number 17.118.11. Also compare with a jar included in the Exhibition of Sung and Ming Treasures from the Laurizen Collection, Museum of Far Eastern Antiquities, Stockholm, 1965, Cat. no. 74, with a very similar lotus design.

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1305. A Chinese white-glazed anhuadecorated ‘dragon’ bowl The deep rounded sides rising from a narrow cylindrical foot to a flared rim, decorated in anhua with two scaly five-clawed dragons in mutual pursuit around the interior walls, the exterior incised with a lappet band above the foot and covered overall in a white glaze, the glazed base with a sticker reading: ‘Ralph M. Chait Chinese Art’. Period: 17th century. Diameter: 18,5 cm, height: 8,5 cm. / 40.000 - 60.000 / / 2 4.400 - 6.500 / Label: Ralph M. Chait Chinese Art. Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoy Constans Lundquist (1891‑1950), thence by descent in the family. White glazed bowls of this type with anhua ’hidden decoration’ a complicated and not yet fully understood manner of decoration that appears to have involved some moulding into a fine layer of slip. This method was practised only at Jingdezhen and is first seen in the Hongwu period. The term is often misinterpreted and used to designate any difficult-to-decipher design. The porcelain was noted for its supremely high quality, very pure white body, made using clay brought from Macang. As Daisy Lion-Goldschmidt expounds in Ming Porcelain, London, 1978, p. 79, white monochromes are ”glories of the period.” The technical perfection is unsurpassed, with a body so pure and fine, so perfectly translucent the rims often seem as though they consist only of glaze that they are described as ’bodiless’ (t’o t’ai). The finely incised design is visible only against the light. This purity of the porcelain remains constant through the centuries as does the decoration, with only few patterns being used. The one in this catalogue has dragon decoration and can be compared to a similar example with dragons from the Yongle period illustrated in Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 669, p. 200; another illustrated by J. Ayers in the Baur Collection, vol. III, Geneva, 1972, no. A408; one in the McElney Collection was included in the exhibition, Porcelain of High Qing, Art Gallery of Greater Victoria, 1983, no. 32; and another included in the Min Chiu Society exhibition, Monochrome Ceramics, Hong Kong Museum of Art, 1977, no. 134.

1306. A Chinese mark and period copper-red glazed dish With rounded sides rising from a short foot to a flared rim, applied overall with a deep sacrificial-red glaze leaving the rim and base white, the base painted with a underglaze blue six-character mark of Kangxi and of the period inside double circular lines. Period: Kangxi mark and period. Diameter: 16 cm. / 20.000 - 30.000 / / 2 2.200 - 3.300 / Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoy Constans Lundquist (1891‑1950), thence by descent in the family. Based on a 15th century prototype. The copper red glazed vessels of the Qing period are essentially a revival of early Ming prototypes made at the Imperial kilns at Jingdezhen. Compare with a similar one from the Tectus collection, The Tectus Collection: Chinese Ceramics, Boras, 1991, p. 222, no. 88.

1307. An exquisite small Jun saucer dish. The shallow rounded sides rising from a short foot, covered overall in an attractive lavender-blue glaze, suffused with purple thinning to a mushroom tone near the rim and pooling just above the foot ring to reveal the brown body. Period: Yin-Yuan Dynasty (1115‑1368). Diameter: 12 cm. / 20.000 - 30.000 / / 2 2.200 - 3.300 / Provenance: The collection of MD Otto Lundquist (1886‑1950) and his brother the Envoy Constans Lundquist (1891‑1950), thence by descent in the family. For condition reports visit: www.uppsalaauktion.se

1308. A famille rose oval soup tureen and domed cover The rounded body supported on a tall everted foot and flanked on either side by iron-red handles moulded as bats, painted on either side of the tureen in soft famille rose colours with a scene of a fisherman and a lady on the shoreline, the domed cover pierced at the top and painted with scattered flower sprays and finished with a moulded flower head finial, the base glazed. Period: Qianlong. Height: 31 cm. / 20.000 - 25.000 / / 2 2.200 - 2.700 /

1309. A famille rose seated figure of Bodhisattva Painted in soft famille rose enamels and gilding, modelled seated crosslegged wearing a long pink tunic covering his legs and decorated with lotus on meandering branches, beneath a turquoise robe decorated with scrolling cloud motifs, bands painted in iron red with cloud motifs in gold and a rim in underglaze blue, his hands raised in front of his chest with one held in a mudra and the other holding a flaming pearl, his soft features picked out in black enamel and iron-red, he is wearing an elaborate crown with yellow ribbons. Period: 20th century. Height: 15 cm. / 20.000 - 25.000 / / 2 2.200 - 2.700 /

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1310. A pair of Chinese famille rose ‘double peacock’ sauceboats Modelled after a silver shape, painted in soft famille rose enamels and decorated on the exterior sides with composite floral sprays below patterned bands around the wavy rims, the interiors painted at the centres with a peacock and peahen perched on rockwork beside a large peony-blossom amongst various flowering branches. Period: Qianlong. Length: 21,5 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

1311. A Chinese famille rose ‘Valentine’ pattern dish Of round form, painted in famille rose and decorated with various emblems of love beneath a garland-draped breadfruit tree, including a pair of dogs signifying fidelity, and a pair of spears with a corded bag, all within gilt floral borders around the flattened rim, the base glazed. Period: Qianlong. Diameter: 22,5 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: A former Swedish diplomat stationed in Beijing in 1958‑1959.

1312. A Chinese ‘dehua’ figure of seated Budai The smiling deity seated with one knee propped up wearing long flowing robes, open to expose the large protruding belly, he is holding a sack and string of prayer beads, his face with a hearty laughing expression, a bald head and pendulous earlobes. Period: 19th / 20th century. Height: 21 cm. / 3.000 - 4.000 / / 2 330 - 440 / 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.

1313. A Chinese ‘dehua’ figure of Guanyin and child The goddess of Mercy modelled seated in Royal Ease pose on a rockwork base, with her finely moulded right hand resting on a raised right knee, the face with a serene expression, the loose robes partially open at the front, her hair in a high chignon surmounted by a tiara, a young acolyte by her side holding the long stem of a lotus bloom. Period: 19th century. Height: 23,5 cm. / 20.000 - 30.000 / / 2 2.200 - 3.300 / Compare with a similar figure in the collection of the Victoria and Albert Museum, dated ca 1620‑1700, museum number 1123‑1875, and illustrated in Kerr, Rose and Luisa E. Mengoni Chinese Export Ceramics London: V&A Publishing, 2011, p.126, pl.179. For condition reports visit: www.uppsalaauktion.se

1314. A pair of Urn Shaped Vases On square bases with pistol handles and slightly domed covers, the stippled ground brightly enamelled in blue and famille rose with two raised roundels of flowers surrounded by a garland of flowers, further decorated with raised garlands of fruits enamelled in brown framing the roundels, the sides of the urns with sprays of flowers, the bases with a border of key fret, the slim stem with a gold pattern above a pendant leaf design, the shoulders with a continuous spray of flowering branches. Period: Qianlong. Height: 35,5 cm. / 40.000 - 60.000 / / 2 4.400 - 6.500 / See Porcelain of the East India Company by Michel Beuderley, page 198 cat 206 for a similar urn where Beuderley states this shape was after a Marieberg model inspired by a Swedish silver shape. See also China for the West by Howard and Ayers page 557, p. 575 where he states that this particular shape derives from a design created in the late sixteenth century by Stefano della bella who worked for Ferdnand de Medici that in turn inspired Wedgwood in England. It also, according to the authors, inspired Marieberg in Sweden. Both authors were correct and these urn shaped vases were ordered by Sweden, Portugal and England.

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1315. A Set of Six Chinese famille verte ’Dragon’ dishes Modelled with shallow sides and flaring rim, painted to the centre with three five-clawed dragons chasing flaming pearls between cloud scrolls, the reverse with two further dragons chasing pearls. Period: Jiaqing iron-red seal mark. Diameter: 24,5 cm. / 20.000 - 25.000 / / 2 2.200 - 2.700 / Provenance: Formerly in a Swedish private collection. For an almost identical example see Oriental Ceramics Society, The Arts of the Ch’ing Dynasty, 1964, no. 191, plate 69.

1316. A pair of Chinese famille verte figures of standing boys Both figures similarly modelled, each standing atop a shaped plinth painted with scrolling flowerheads and holding a vase containing flowering lotus spray, each wearing colourful tunics and aprons decorated with patterns, ruyi-heads and auspicious objects and from which hangs tassels suspending further auspicious objects, all painted in vivid tones of green, iron red, yellow and aubergine, the bases painted in red. Height: 27,5 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

1317. A set of twelve Chinese famille verte plates Each of round form, painted in famille verte enamels with in the shallow bowls a scene set beneath a pine tree of a spotted deer looking up towards a crane flying above, lingzhi mushrooms growing nearby, all surrounded by a band painted with cartouches containing flowers on a patterned ground around the wells and decorated with further cranes in flight around the flattened rim, the backs with simple floral branches. Period: Kangxi. Diameter: 22 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

1318. A Chinese famille verte ‘piecrust’ dish Of round form, decorated to the centre with an aquatic scene of two birds, one perched on a peony branch issuing from rock work the other flying above aquatic plants including lotus leaves, pod and flower issuing from water from which a carp leaps, with a small shrimp and a crane wading through the water, the rim with panels of gnarled branches of prunus reserved on a seeded green ground with flowers, all within a piecrust band around the rim, the exterior painted with simple floral sprays and the glazed base painted with double circular lines in underglaze blue. Period: Kangxi. Diameter: 36 cm. / 6.000 - 8.000 / / 2 650 - 870 / For condition reports visit: www.uppsalaauktion.se

1319. A set of thirteen Chinese armorial custard cups and covers Decorated with the coat of arms of the Swedish family af Wirsén. Period: Jiaqing. Height: 8,5 cm.

1320. A famille rose tureen, cover and stand Swedish armorial design Decorated with the coat of arms of the Swedish family af Wirsén. Period: Jiaqing. Length: 20 cm.

1321. Two famille rose tureens Swedish armorial design Decorated with the coat of arms of the Swedish family af Wirsén. Period: Jiaqing. Length: 18 cm.

/ 30.000 - 35.000 / / 2 3.300 - 3.800 /

/ 15.000 - 20.000 / / 2 1.600 - 2.200 /

/ 10.000 - 15.000 / / 2 1.100 - 1.600 /

Provenance: Formerly in the collections of Bengt Bernström (1888‑1977), thence by descent.

Provenance: Formerly in the collections of Bengt Bernström (1888‑1977), thence by descent

Provenance: Formerly in the collections of Bengt Bernström (1888‑1977), thence by descent.

Armorial porcelain with this Swedish design were exhibited at the Guangzhou Museum as part of an exhibition of exquisite armorial porcelain, the exhibition from 2015 ‘Porcelain of the Qing Dynasty from the Guangzhou Museum Collection’, aimed to discover how armorial porcelain connected the West with the Qing Dynasty. This dinner service was one of the last services ordered before the Swedish East India Company ceased in 1813.

1320

1321

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1322. An extremely rare wucai and turquoise ‘dragon’ bowl, late Ming dynasty, Chongzhen period (1628‑1644) Of deep round form with gently everted rim painted on the exterior with two iron-red horned writhing dragons rising from the waves in pursuit of a flaming pearl, surrounded by swirling clouds above a band of rocks rising from crashing waves at the foot, all between double blue bands encircling the foot and mouth rim, the interior decorated with two further dragons in iron red and green racing amidst ruyi heads pursuing flaming pearls, the base glazed and painted in underglaze blue with an eight-character inscription, Jiaxu chunmeng Zhaofu zaoyong (Jiaxu year first Spring month, made for the use of the Zhao Mansion), within a double circle. Period: Ming dynasty, Chongzhen period (1628‑1644). Diameter: 27,5 cm. Height: 14 cm. / 50.000 - 60.000 / / 2 5.500 - 6.500 / Provenance: From a Swedish private collection. Acquired in 1979 from the collections of Folke Isacson (1898‑1975). Ming Wilson, in her book, Rare Marks on Chinese Ceramics, Percival David Foundation, London, 1988, pp. 30‑1, has only found four examples of dishes bearing this rare inscription. One is in the Percival David Foundation and illustrated pp. 30‑1, no. 5, where the author notes that two other dishes with this mark are in the Palace Museum, Beijing, and one is in a Swedish Private collection. The dish belonging to the Swedish collection was exhibited in the Royal Academy Exhibition in 1935‑36, no. 1950. The fourth known example would appear to be the dish in the Shanghai Museum illustrated in Zhongguo taoci quanji - 21 - Jingdezhen caihui ciqi, Shanghai, 1981, no. 50. According to Ming Wilson, op. cit., p. 30, ”Zhaofu (Zhao Mansion) referred to the Princedom of Zhao, one of the 24 principalities set up by the Hongwu Emperor during the early years of the dynasty.” The author proposes that the owner of this group of dishes could have been either Zhu Cigan, who inherited the title Prince of Zhao in 1617, or his successor, Zhu Changyu, who was captured by Qing troops in 1644.

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1323. A very rare Wucai and turquoise ’dragon’ dish, late Ming dynasty, Chongzhen period (1628‑1644) The saucer dish of shallow form with gently everted rim painted in the centre with a green horned writhing dragon rising from the waves in pursuit of a flaming pearl, surrounded by swirling clouds enclosed by a band of rocks rising from crashing waves on the rim, the back decorated with two further dragons in iron red and green racing amidst ruyi heads pursuing flaming pearls, the base glazed and painted in underglaze blue with an eight-character inscription, Jiaxu chunmeng Zhaofu zaoyong (Jiaxu year first Spring month, made for the use of the Zhao Mansion), within a double circle. Period: Ming dynasty, Chongzhen period (1628‑1644). Diameter: 26 cm. / 30.000 - 40.000 / / 2 3.300 - 4.400 / Provenance: From a Swedish private collection. Acquired in 1979 from the collections of Folke Isacson (1898‑1975). Very few of these dishes bearing this unusual mark appear to be recorded. One is in the Percival David Foundation and illustrated by Ming Wilson, Rare Marks on Chinese Ceramics, Percival David Foundation, London, 1988, pp. 30‑1, no. 5, where the author notes that two other dishes with this mark are in the Palace Museum, Beijing, and one is in a private Swedish Collection. The dish from the Swedish collection was exhibited at the Royal Academy Exhibition in 1935‑36, no. 1950. The Royal Academy catalogue states that this dish belonged to Ivar Traugott. The fourth known example would appear to be the dish in the Shanghai Museum illustrated in Zhongguo taoci quanji - 21 - Jingdezhen caihui ciqi, Shanghai, 1981, no. 50. According to Ming Wilson, op. cit., p. 30, ”Zhaofu (Zhao Mansion) referred to the Princedom of Zhao, one of the 24 principalities set up by the Hongwu Emperor during the early years of the dynasty.” The author proposes that the owner of this group of dishes could have been either Zhu Cigan, who inherited the title Prince of Zhao in 1617, or his successor, Zhu Changyu, who was captured by Qing troops in 1644. The author also remarks that: “The dragons on these dishes, though of the same design, show some variations in execution, as if they were painted by different artists. The dragon on both the Palace Museum and the Swedish piece has a long face, whilst that on the present dish [the Percival David Foundation example] has a big nose and prominent eyes. The difference in the decoration is not however related to the size of the piece, since both the PDF and the Swedish dishes are of the same size.” The current dish presented here resembles the dish in the Percival David Foundation when it comes to the execution of the dragon with a big nose and prominent eyes.

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1324. A Chinese bronze censer Of compressed form, raised on a short, slightly flared foot and rising to an everted rim, the sides cast with opposing Buddhist lion-head handles, the base with a raised apocryphal six-character mark of Xuande. Period: 17th century. Length: 19 cm. / 15.000 - 18.000 / / 2 1.600 - 2.000 /

1325. A Chinese bronze censer With the mark of Xuande. Period: Probably 19th century. Length: 20,5 cm. / 4.000 - 5.000 / / 2 440 - 550 /

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1326. A gilt bronze censer and cover The compressed body cast in relief with wood shrews clambering on vines with large leaves and prunus branches, between two stylised handles surrounded by prunus blossom and leaves and with wood shrews atop, the reticulated domed cover with a similar design and centred by a large mythical animal finial, the base with a square seal mark Xuande, all supported on feet modelled as gnarled flowering branches with further shrews, all placed on a reticulated stand again similarly decorated and centred with a shou-character. Period: 19th century. Length: 46 cm. Height: 39 cm. / 25.000 - 30.000 / / 2 2.700 - 3.300 /

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105

1327. A Chinese bronze tripod vessel Of archaistic ding form, the slightly tapered cylindrical body supported on three tapered cylindrical legs, the galleried rim surmounted by a pair of arched handles, the exterior cast with raised Sanskrit characters reserved on a diaper ground, the base with an impressed square six character seal mark of Xuande. Height: 18 cm. / 4.000 - 6.000 / / 2 440 - 650 /

1328. 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-fret pattern around the mouth. Height: 15 cm. / 15.000 - 18.000 / / 2 1.600 - 2.000 / Provenance: Formerly in the collection of Paul Ragnar Wedendal (1924‑2010), given as a birthday present in 1972 to the present owner. 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.

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Property from the collections of Diplomat Johan and Gunilla Beck-Friis Lots 1329-1332

Dedicated photo to Minister Beck-Friis signed by Chiang Kai-shek and his wife Soong Mei-ling. For condition reports visit: www.uppsalaauktion.se

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1329. A rare embroidered twelve-symbol semi-formal ’dragon’ robe The yellow robe couched in gold-wrapped threads with nine five-clawed dragons, surrounded by swirling clouds and bats carrying auspicious objects, with stylised shou characters and the ’Twelve Symbols of Imperial Authority’, the sun, moon, mountains and constellation around the neck, the fu symbol, axe, small dragon and pheasant around the chest and back, and the sacrificial vessels, water weeds, flames and grains just below the waist, all enclosed by lishui, cloud and wave borders with auspicious objects and terrestrial diagrams at the hem and sleeves, the collar and cuffs decorated with dragons and phoenix and weaved keyfret bands, probably made from unused yardage. Period: 19th century. Length: 145 cm; width: 199 cm. / 100.000 - 150.000 / / 2 11.000 - 16.000 / Provenance: Johan Beck-Friis (1890‑1969), the Swedish chargé d´affaires and later envoy in Shanghai 1934‑1939, thence by descent. By repute the robe was bought in 1937‑38 by Johan Beck-Friis´ wife Gunilla Beck-Friis (née Bielke 1893‑1984) from a lady-in-waiting at the former Imperial court who needed funds to be able to flee from the invading Japanese. The robe was said to have belonged to the last emperor. The Qianlong Emperor revived the tradition in 1759 as part of a comprehensive set of costume edicts promulgated in the Huangchao liqi tushi (Illustrated Precedents for the Ritual Paraphernalia of the Imperial court) that the Twelve Symbols should appear on court robes. Although reserved for the exclusive use of the emperor, the Huangchao liqi tushi also records that the emperor had the authority to confer the right to use these Twelve Symbols to a family member as a mark of favour. The court robe is embroidered with twelve small motifs: sun, moon, constellation, mountain, dragon, flowery creature, axe head, back-to-back ji, sacrificial vessels, waterweed, flame and grain; known as the Twelve Symbols. The sun and the moon along with the constellation represented things from heavens. The mountain, the dragon and the flowery creature represented things on earth. The axe head, the back-to-back ji characters and the sacrificial vessels were used in ancestor worship ceremonies in ancient times. The Qing emperors no longer used those items at temples and altars, but had retained the symbols on their robes. Waterweed, flame and grain represented three of the Five Elements. Waterweed grows in water and grain is born out of soil. The Five Elements is an ancient philosophy about direction, growth and destruction. Fire is associated with the south, metal with the west, water with the north, wood with the east, and soil with the centre.

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109

1330. A Chinese reverse glass painting Painted with a lady and her maid at leisure in a room. Period:19th century. Measurements: 50 cm x 35 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: Johan Beck-Friis (1890‑1969), the Swedish chargé d´affaires and later envoy in Shanghai 1934‑1939, thence by descent.

1331. A Chinese painting Lady in a purple dress with a white dog. After Lang Shining (Giuseppe Castiglione), watercolour and ink on silk. Measurement: 54,5 cm x 29 cm / 3.000 - 4.000 / / 2 330 - 440 / Provenance: Johan Beck-Friis (1890‑1969), the Swedish chargé d´affaires and later envoy in Shanghai 1934‑1939, thence by descent.

1332. A Chinese partly gilt bronze brush washer Period: probably Ming. Length: 10,3 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: Johan Beck-Friis (1890‑1969), the Swedish chargé d´affaires and later envoy in Shanghai 1934‑1939, thence by descent.

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1333. An embroidered ’dragon’ robe The blue robe couched in gold and silver-wrapped threads with fiveclawed dragons, surrounded by swirling clouds and bats carrying auspicious objects. Period: Late Qing. Measurements: 137 cm x 140 cm. / 6.000 - 8.000 / / 2 650 - 870 /

1334. A Chinese embroidered robe Embroidery on a light yellow silk ground with scattered flower sprays of various type, baskets filled with flowers and butterflies, the neck, rim and sleeves with borders and bands, one embroidered with floral motifs against a purple ground, one embroidered in shades of blue with blossoms and butterflies on a black ground lined with a blue band, the robe opens at the front and is fastened by gilt metal buttons with dark blue silk loops. Length: 138 cm. Width: 115 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: Acquired by the present owners grandfather’s brother during the early 20th century.

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1335. A Chinese southern celadon dish Of round form, the wide sides rising from a short foot, covered overall in a smooth light green glaze stopping neatly at the foot revealing the body. Diameter: 17 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: A former Swedish diplomat stationed in Beijing in 1958‑1959.

1336. A Chinese celadon crackleglaze bowl The steep rounded sides rising from a short moulded foot, covered overall in a pale celadon glaze suffused with a light crackle and further decorated on the exterior sides with iron-red-glaze splashes. Diameter: 25 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: A former Swedish diplomat stationed in Beijing in 1958‑1959.

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1337. A pair of Chinese blue and white bowls The wide sides rising from short straight feet, painted in shades of underglaze blue and each decorated on the exteriors with three Buddhist lion dogs alternating with floral sprays, the interiors with a central medallion enclosing a single flower and a geometrical band around the rims, the bases inscribed in underglaze blue with six-character marks of Jiajing inside double circular lines. Period: Kangxi. Diameter: 18 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A former Swedish diplomat stationed in Beijing in 1958‑1959.

1338. A rare Chinese blue and white warming bowl Painted on the interior with two scholars conversing in a terraced garden while a young attendant looks on, the exterior decorated with two sections of grapevine, the base with a single aperture and the interior hollowed. Period: 17th century. Diameter: 14 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: A former Swedish diplomat stationed in Beijing in 1958‑1959. For condition reports visit: www.uppsalaauktion.se

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1339. A Chinese blue and white pear-shaped vase Of pear form with a slightly compressed body, rising to a waisted neck and flared mouth, decorated around the body with a continuous frieze of flower blossoms of various type, all borne on a foliate scroll with further florets and buds, between pendant ruyi heads and lappets, the curved neck with upright plantain leaves, the countersunk base glazed. Period: 18th century. Height: 24,5 cm. / 4.000 - 5.000 / / 2 440 - 550 / Provenance: A former Swedish diplomat stationed in Beijing in 1958‑1959.

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1340. A Chinese blue and white small bottle vase The bulbous body rising to a tall slender neck, decorated around the waist with a pendant collar of stylised ruyiheads decorated in white on blue with floral sprays, all below a geometrical band and stiff upright leaves on the slender neck, the glazed base inscribed in underglaze blue with the mark of Jade. Period: Kangxi. Height: 13 cm. / 5.000 - 6.000 / / 2 550 - 650 /

From a Swedish private collection Lots 1341- 1345 1341. A Chinese blue and white bottle vase Of pear-shaped form with tall tapering neck, the body with pomegranate panels containing diapered and spotted pattern or formal lotus and lingzhi sprays and Buddhist emblems, with prunus and emblems in barbed panels on a diaper ground border above, and four characters in a stylised form of Lantsa or Devanagari script around the neck between a flowering scroll and pendant leaves. Label attached exhibited at Borås 1985. Period: Late 16th / Early 17th century. Height 28,5 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 / Provenance: A Swedish private collection. Exhibited: ”Mittens Rike”, Borås konstmuseum, 1985, illustrated in catalogue p. 85 and colour plate, nr 223.

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1342. A Chinese blue and white jar Of squat melon-shaped form with short neck, the lobed body painted with, bamboo, prunus and pine, ‘The Three Friends of Winter’, against a background of stylised rock work, birds hover in the sky overhead, all between a border of triangular work at the neck and double blue lines at the foot, the neck with a key fret pattern. Period: Wanli. Height: 13,5 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Swedish private collection. Exhibited: ”Mittens Rike”, Borås konstmuseum, 1985, illustrated in catalogue p. 86, nr 230.

1343. A Chinese ‘dehua’ figure of Guanyin The goddess finely modelled standing on a cloudshaped base, wearing loose robes elegantly draped around her body, tied at the waist and partly open at the front, her right hand protruding to the side from beneath the long sleeve in an elegant pose holding a small object, her face in a serene expression with her hair tied in a high chignon. The base with labels one printed with; Utställd i Borås “Mittens Rike” 1985. Period: 19th / 20th century. Height: 32 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: A Swedish private collection. Exhibited: ”Mittens Rike”, Borås konstmuseum, 1985 according to label on bottom.

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1344. A finely carved yellow brush washer Of shallow ovoid form, the outside carved with a continuous landscape scene, two houses nestling behind pine and prunus, the other side with mountains and a lone figure crossing a bridge, the interior with a raised crustacean amongst aquatic plants, the base with a raised four-character mark of Wang Bingrong (made by Wang Bingrong zuo) and possibly by the artist. Period: 19th / 20th century. Diameter: 10,5 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: A Swedish private collection. Exhibited: ”Mittens Rike”, Borås konstmuseum, 1985, illustrated in catalogue p. 132, nr 475. According to T. Miller and H. Hui in Elegance in Relief: Carved Porcelain from Jingdezhen of the 19th to Early 20th Centuries, Hong Kong, 2006, Wang Bingrong was ”the most commercially successful of the Daoguang period porcelain carvers and was probably still active through at least one of the two subsequent reigns” and that his ”enduring popularity owes much to the bold simplicity with which he executed classical motifs”.

1345. A Chinese turquoise-glazed monochrome bottle vase The bulbous body rising from a short rolled foot rim to a tall slender neck and a flared lipped rim, the body incised with a decoration of large peony blossom and leaves against a rich turquoise glaze suffused with a fine dark crackle covering the exterior and the interior of the vase, stopping at the unglazed base with an exhibition label attached reading; Utställd i Borås “Mittens Rike” 1985. Period: 18th century. Height: 22 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Swedish private collection. Exhibited: ”Mittens Rike”, Borås konstmuseum, 1985, illustrated in catalogue p. 130 and colour plate, nr 469. For condition reports visit: www.uppsalaauktion.se

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1346. A Chinese blue and white lobed teapot and tea caddy The lobed body divided into panels decorated with small landscapes or flowering branches, with a straight spout and c-shaped handle, together with an associated lid with a bud finial, and an octagonal blue and white tea caddy decorated with blossoming branches and small lid similarly decorated. Period: Kangxi. Height: 11 cm and 12 cm. / 3.000 - 4.000 / / 2 330 - 440 /

1347. A Chinese blue and white yen yen vase The rounded baluster body surmounted by a tall cylindrical neck and a wide flared rim, painted in shades of underglaze blue and boldly decorated on the body and the neck with large lotus blooms borne on scrolling branches divided only by a geometrical band around the base of the neck and further bands with demi-florets in white on blue around the flared foot and rim, the glazed base painted with a double circular line in blue. Period: 18th century. Height: 44 cm. / 5.000 - 6.000 / / 2 550 - 650 /

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1348. A pair of blue and white vases with archaistic design Boldly painted with four shaped pendent panels profusely decorated with scrolling plants and blossoms including peony, divided by strap work, the lower body with small panels each containing a flower head, the slightly flaring foot with upright petal design, the domed covers similarly decorated. Height: 41 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 / This pattern is to be found on the so-called ‘soldier’ vases found in the Augustus the Strong collection in Dresden. The term ‘soldier’ vase is derived from an unusual trade agreement between Frederick Augustus I (1670‑1733), Elector of Saxony, King of Poland known as Augustus the Strong and Frederick Wilhelm I of Prussia. (1688‑1740). Augustus was an avid collector of Chinese and Japanese porcelain amassing a vast collection that eventually comprised 24,000 items. The passion of Frederick William I for military exercises was nearly as great as Augustus the Strong’s appetite for porcelain. Augustus’ military campaigns had not met with success and he no longer had need of a large army so, in 1717 he arranged a trade whereby Frederick William I of Prussia would receive 600 soldiers or dragoons in exchange for 151 pieces of Chinese porcelain of which 48 were noted for their great size. This extraordinary and well-documented event speaks volumes as to the value and desirability of Chinese porcelain!

1349. A Chinese blue and white ‘lotus’ vase The baluster body supported on a tall slightly everted foot and rising from a stepped shoulder to a wide neck, painted around the body with a wide frieze of lotus borne on scrolling branches, the shoulder with flowering branches, the neck and the foot with lappet bands, with a carved wood cover. Height: 27 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: W.O Möbius (1884‑1951), who lived and worked in Shanghai in 1917‑1935. For condition reports visit: www.uppsalaauktion.se

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1350. A pair of Chinese blue and white vases, gu Of cylindrical form with flaring mouths and moulded feet and very gently bulging middle sections, painted in shades of underglaze blue and decorated around the exterior bodies with swirling lappet-shaped panels in four tiers, each panel boldly painted with scenes of scholars in landscapes or small mountainous landscape scenes, the exterior and interior rims and the feet with a triangular pattern, the bases glazed. Period: Kangxi. Height: 23,5 cm. / 6.000 - 8.000 / / 2 650 - 870 /

1351. A Chinese blue and white baluster jar and cover Painted in shades of underglaze blue with on the large rounded body a continuous scene set in a watery landscape with boats and bridges crisscrossing a mountainous shoreline lined with trees and buildings and populated by a number of figures, the shoulder decorated with an elaborate border of medallions and floral sprays, the domed cover similarly decorated and surmounted by a Buddhist lion finial, the base glazed. Period: Qianlong. Height: 44 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

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1352. A Chinese blue and white large archaistic baluster vase Of inverted baluster shape, the rounded shoulder rising to a short cup-shaped mouth, boldly enamelled around the body with archaistic tao-tieh masks outlined in white on blue, stylised archaistic bands on a ground of leiwen, key-fret and honeycomb pattern above stiff pendant stylised leaves, a thin band around the mouthrim, the base glazed and painted with a double circular line in blue. Period: Kangxi. Height: 42,5 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 /

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1353. Chinese blue and white Arabic inscribed brushpot Of round form, the straight sides rising from a short moulded foot, painted in shades of underglaze blue and decorated around the exterior sides with shaped cartouches inscribed with cursive Arabic script ‘Elbereket-ul-Allah’ (with God’s abundance) divided by boldly painted shou-characters flanked on either side by bats, all above foaming and crashing waves and in between double circular lines. Period: 18th century. Height: 12,5 cm. Diameter: 13 cm. / 6.000 - 8.000 / / 2 650 - 870 /

1354. A large Chinese blue and white jar, Guan Of ovoid form with short straight neck, the sloping shoulders with four mask lug handles, the body decorated with a strutting pheasant amidst flowering plants issuing from stylised rock work, the other side with a pheasant in flight above rockwork and sprays of flowers all below a band of flower panels on a diaper ground and above, at the foot, a band of petals, the neck with a continuous scrolling plant. Period: early 17th century. Height: 26 cm. / 6.000 - 8.000 / / 2 650 - 870 /

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1355. A pair of Chinese ormolu-mounted powder blue ginger jars The bulbous bodies decorated with either large shaped or round cartouches containing antiquities and auspicious objects and surrounded by fan-shaped cartouches painted with birds on flowering branches above and square cartouches with chamfered corners painted with sprays of flowers issuing from the ground below, all set on a powder blue ground and each jar further adorned with elaborate gilded ormolu mounts creating scrolling handles on either side of each jar. Period: 19th century. Height: 34 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 / The attachment of elegant gilded bronze mounts to richly decorated Chinese and Japanese porcelain was highly fashionable, particularly in France, during the mid-eighteenth century. Ormolu mounts were thought to complement a refined interior and to enhance a ceramic.

1356. A pair of Chinese powder blue and giltdecorated baluster jars and covers The rounded baluster bodies finely painted with large complex butterflies, dragonflies and scattered floral sprays all in bright gilding on a deep powder blue ground, the shoulders and the rims of the covers with ornate brocade pattern, the domed covers further decorated with landscape scenes and topped with seated Buddhistic lion finials. Period: 19th century. Height: 47 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 / For condition reports visit: www.uppsalaauktion.se

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1357. A Chinese famille rose ‘immortals’ bottle vase Of globular form rising from a slightly splayed foot to a waisted neck, decorated in soft famille rose enamels with a continuous scene around the body painted with the Eight Immortals with their respective attributes together with Liu Hai and his three-legged toad and the He-He Erxian holding a lotus stem and a basket with a turtle respectively, all set in a rocky landscape beside the banks with gnarled trees, misty clouds and distant mountains, set between pendant and upright ruyi-heads interlocked with bats draping the shoulder and skirting the blue keyfret foot, all below the tall neck painted on a yellow ground with bats suspending double-fish above wan symbols and large lotus blooms all surrounded by formal lotus scroll and chilongs, with a further band of ruyi-heads around the exterior mouth rim, the interior and the underside glazed in turquoise, the base inscribed with a square reign mark in iron-red of Qianlong reserved on a white ground. Height: 31 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: Hjalmar Wicander (1860‑1939), thence by descent in the family.

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1358. A fine yellow-glazed bowl, mark and period of Jiajing. Of round form the steep sides rising from a short foot ring to a slightly everted rim, covered overall in a rich and lustrous egg yolk yellow glaze, pooling to a mustard tone and revealing the red body where it stops short of the foot, the white glazed base painted in the centre with a blue six-character mark of Jiajing and of the period inside a single circular line. Period: Jiajing mark and period. Diameter: 12 cm. Height: 6 cm. / 50.000 - 60.000 / / 2 5.500 - 6.500 / Provenance: Envoy Gustaf Wallenberg (1863‑1937). Thence by descent in the family. Yellow glaze was used as a colour on porcelain vessels from the Ming Dynasty and can be found as early as the Xuande reign. Yellow glazes during the Ming and Qing Dynasties, were either applied directly to the pre-fired body, which achieved richer and warmer tones as in this example, or on top of a high-fired glaze which results in an even and smooth appearance. ’Imperial yellow’ wares were particularly prized given that Qing regulations accorded this colour only for the Emperor, Empress or Dowager Empress. So important was the colour yellow, such wares were also designated for rituals conducted by the Emperor at the Altar of Earth. Compare with Jiajing yellow-glazed bowls illustrated in Oriental Ceramics, The World’s Great Collections, vol. 11, 1982, no. 87, in the Metropolitan Museum of Art.

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1359. A Chinese blue and white dish With a central medallion enclosing lotus, the exterior sides with a frieze of stylised lotus borne on scrolling branches, the base inscribed in the centre with a square seal mark of Jiaqing in blue but later. Diameter: 20,5 cm. / 2.000 - 3.000 / / 2 220 - 330 /

1360. A Chinese blue and white ‘phoenix’ dish Thinly potted, with shallow rounded sides rising from a short tapered foot to a gently flared rim, decorated on the interior with a central medallion enclosing a male and a female phoenix confronting each other amongst clouds, the two mythical birds distinguished by their curling and serrated tail feathers spreading out within a double-line border, the exterior similarly painted with two phoenix pursuing each other amidst clouds, the base inscribed in underglaze blue with a square seal mark of Daoguang. Diameter: 16,5 cm. / 3.000 - 4.000 / / 2 330 - 440 /

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1361. A Chinese blue and white jar and cover Of baluster shape, the bulbous body with a slightly everted foot rising to a short neck and with a domed cover surmounted by a bud finial, later decorated in Europe in iron red and gilding with large flowering branches issuing from stylised rock work divided by bands decorated with coinpattern and large ruyishaped cartouches on the shoulder and around the foot, the cover similarly decorated, the base glaze and painted with a double circular line in underglaze blue. Period: 18th century. Height: 44 cm. / 20.000 - 30.000 / / 2 2.200 - 3.300 / Provenance: By repute King Gustaf VI Adolf, to M.D. Gustaf Lindberg, Norrköping, who both were members of the illustruous ”China club”. The members of the club shared an interest in Chinese antiquities and formed collections of Chinese porcelain, bronzes etc and often exchanged objects among each other. Thence from Dr Lindberg to consul Sjöberg in Norrköping, to the present owner.

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1362. A rare calligraphic silk embroidery The main panel with two lines of calligraphy, part of a poem by the Song scholar, poet and calligrapher, Huang Tungjian, signed by Huang Tingjian with two of his personal seals, the seal on the bottom left signed Liu Ruishi and stating,Liu Ruishi embroidered this for Master Muzhi to wish him longevity, the upper section with two characters painted by the Emperor Qianlong and impressed in vermillion with his colophon and seal. The two characters referring to rocks or a craggy landscape, perhaps alluding to the style of calligraphy. The poem, Tingjian’s seals and Liu Ruishi’s seal all finely embroidered in silk, the upper panel with Qianlong’s personal addition of two characters and his seals painted in ink on pale green paper within a finely painted border of lotus and foliate scrolls in pale green the whole mounted on an embroidered brocade with floral designs. Period: Proably Qianlong period. Measurements: 136 cm x 36 cm. / 80.000 - 100.000 / / 2 8.700 - 11.000 / Provenance: Acquried in the early 1980´s at Japanska Magasinet in Stockholm, thence by descent. Japanska Magasinet was an antiques shop established in the first part of the 20th century and specializing in Oriental antiques. There had been a set of four embroideries at the time this one was acquired by repute. One had been acquired by the museum Kulturen in Lund. The poem is a classic by Tingjian and is about his godson Mi Youren, son of another Song scholar Mi Fu. This is from the end of the poem as originally there would have been four panels, each with two lines of calligraphy. Emperor Qianlong, a connoisseur who took an active interest in the arts and amassed an incredible collection of the finest wares, sometimes would inscribe a poem on a favourite object like the ru ware dish in the Percival David Foundation or add a comment in his own hand to an object as appears here. A treasured piece of calligraphy painstakingly embroidered in silk by Liu Ruishi probably in Suzhou, The top panel left blank and this then later inscribed by the Emperor Qianlong who added two characters and his seals. These hand -picked inscribed objects formed a portrait of the Emperor’s exquisite taste. The inscribed pieces certainly impressed Sir Percival David who emulated imperial Chinese connoisseurship when forming his own exceptional collection. For an example of the Song master of poetry and calligraphy Huang Tingjian’s work see Princetown University, Rare Masterpieces from the Song dynasties, Huang Tingjian’s Scroll for Zhang Datong. Also see the collection of Metropolitan Museum of Art, accession number 1989.363.4, a hand scroll, Biographies of Lian Po and Lin Xiangru, dated ca 1095, picked by the Emperor.

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1363. A pair of Chinese celadon-glazed archaistic vases, hu The vases is well potted in baluster form with angular sloping shoulders rising from short slightly everted feet to broad waisted necks surmounted by galleried rims, carved all around with five registers of archaistic scrollwork, the central frieze with an undulating band including archaistic dragons, between a thin and a broad keyfret band on the shoulders, uprights of stylised plantain leaves on the necks and a lappet band around the feet, covered overall with an even glaze of soft sea-green tone, apart from the white-glazed bases. Period: 19th century. Height: 57 cm. / 15.000 - 18.000 / / 2 1.600 - 2.000 /

1364. A crackle-glaze vase The baluster body rising from an everted foot to a waisted flaring neck, covered overall in a light crackle glaze. Height: 39 cm. / 4.000 - 5.000 / / 2 440 - 550 /

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Property from a Norwegian private collection Lots 1365-1390

1365. A Chinese yellow-ground ‘dragon’ bowl Of round form with slightly flared rim and straight foot ring, the exterior finely painted with two fierce five-clawed, horned scaly dragons in underglaze blue on a yellow ground, pursuing shaped medallions, one containing a shou (longevity) character and the other a fu (happiness) character, supported on lingzhi fungus amid cloud scrolls, all above three rows of lotus petals, the well is similarly decorated with a dragon medallion, the base is painted with the six-character mark of the Kangxi Emperor within concentric circles. Period: Kangxi mark and period. Diameter: 13,3 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Norwegian private collection. For a similar bowl, see Tie, The Complete Collection of Porcelain of Jiangxi Province: Porcelain of the Qing Dynasty (I), p. 89, in the collection of the Museum of Jiangxi Province. For a blue and white example, see Chen, Qing Shunzhi Kangxi Chao Qinghuaci, no. 121, p. 200, in the collection of the Palace Museum, Beijing. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1366. A pair of Chinese blue and white ‘master of the rock’ plates The shallow bowls painted in shades of underglaze blue with roundels depicting typical rocky and mountainous landscapes with small figures, the flattened rims decorated with pine firs, the exterior sides with further stylised rocky landscapes, the glazed bases inscribed in underglaze blue with sixcharacter marks of Chenghua inside double circular lines. Period: Kangxi. Diameter: 20,5 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1367. A Chinese blue and white brushpot, bitong Of cylindrical form with straight sides, decorated around the exterior with a scene of dignitaries gathered in a tree-lined landscape, a small boat with two passengers in nearby waters, all below a band around the rim with small landscape cartouches reserved on a coin-patterned ground, the base unglazed except for a circular slightly recessed central section painted with double circular lines in blue. Period: 19th century. Height: 18 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1368. A set of six Chinese blue and white plates Of round forms with foliate rims, each painted in shades of underglaze blue with terraced palace scenes with ladies and dignitaries next to planters or stylised rockwork, the exterior sides with stylised rocky landscapes, the bases inscribed in underglaze blue in the centres with six-character marks of Chenghua inside double circular lines. Period: Kangxi. Diameter: 16 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1369. A Chinese blue and white brushpot, bitong Of waisted cylindrical form with flaring mouth, painted around the exterior with a dream scene, with a figure seen seated at a table sleeping and dreaming of meeting a lady on a bridge, the base glazed with a six-character mark of Kangxi in blue and a channelled footrim. Period: 18th century. Height: 13,5 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price. For condition reports visit: www.uppsalaauktion.se

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1370. A Chinese blue and white bowl and another blue and white bowl The deep rounded sides rising from a short straight foot to a broad everted flaring rim, painted with two rectangular panels enclosing figures in a walled garden and interior, divided by calligraphic inscriptions, all below a rim with small cartouches enclosing auspicious objects reserved on a flowered diamond ground, the interior with a medallion enclosing boys at play and encircled at the rim by four oval panels enclosing peaches reserved on a flowered diamond ground, the base inscribed in underglaze blue with a six-character apocryphal mark of Xuande. Together with another bowl of the same shape decorated around the exterior with phoenix in flight below a band of auspicious objects around the rim, the interior with a lotus medallion encircled by a stylised band at the rim, the base with an emblem inside double circular lines. Period: Kangxi. Diameter: 16 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1371. A Chinese blue and white brush pot Of waisted cylindrical form with a wide flaring rim, painted in shades of underglaze blue and decorated around the body with a bird perched on a prunus branch issuing from rockwork amidst chrysanthemum, further blossoms, another bird flying above and small butterflies buzzing around, all set in between circular bands around the rim and foot, the base glazed. Period: Kangxi. Height: 14 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1372. A Chinese blue and white jar The compressed globular body rising from a tapered foot to a short waisted neck, painted to the exterior with two rectangular cartouches enclosing scenes of mountainous and tree-lined landscapes in which figures mill about, the cartouches divided by auspicious objects, a geometrical decoration around the rim, the base glazed. Period: Kangxi. Height: 16 cm. Diameter: 22 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1373. A Chinese blue and white jar The compressed globular body rising from a tapered foot to a short waisted neck, painted to the exterior with two rectangular cartouches enclosing palace scenes with dignitaries and a lady, within balustrade pavilions, receiving tribute, amongst attendants, the cartouches divided by single florets, a decoration of auspicious objects around the rim, the base glazed. Period: Kangxi. Diameter: 18 cm. Height: 16,5 cm. / 10.000 - 15.000 / / 2 1.100 - 1.600 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price. For condition reports visit: www.uppsalaauktion.se

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1374. A Chinese blue and white bowl The rounded sides rising to a slightly everted rim, painted around the exterior in shades of underglaze blue with the ‘eight horses of Mu Wang’, the interior with a central roundel depicting a recumbent horse and a band around the interior rim, the base with a Shen De Tang mark inside double circular lines. Period: Transitional. Diameter: 15 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: A Norwegian private collection. King Mu (r. 956 – 918 bce), is the hero of what could be considered an epic tale (rare in Chinese culture) from at least the fourth century BCE; one part of his saga has him harnessing eight mighty horses to travel about his realm on tours of inspection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1375. A Chinese blue-glazed dish Well potted with shallow rounded sides rising from a tapered foot, applied overall with a deep blue glaze draining to white at the rim, the blue-glazed base inscribed with a six-character mark of Xuantong in blue. Diameter: 27 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1376. A Chinese transitional blue and white box and cover Of circular form, the domed cover with a central medallion enclosing a scene with a lady and two boys playing in a terraced garden beneath a hanging willow tree, the side of the cover and box with detached flowering sprays including prunus, lotus, and peony, little insects buzzing around, the base inscribed in underglaze blue with a six-character mark of Jiajing within double circular lines. Period: 17th century. Diameter: 21 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1377. A Chinese blue and white bowl The deep rounded moulded sides rising from a short straight foot to a foliate rim, decorated on the exterior with large blooms alternating with stylised butterflies and surrounded by scrolling branches, the interior with a central medallion enclosing a stylised flower, the glazed base with a square ‘shop’ mark. Period: Kangxi. Diameter: 15 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price. For condition reports visit: www.uppsalaauktion.se

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1378. A rare Chinese Yixing teaset An hexagonal Yixing teapot and cover mid 18th century, raised on a shaped foot rim, the neck band plain, the cover surmounted by a recumbent lion dog before a spinning brocade ball, together with a Yixing hexagonal sugar pot and cover 18th century, raised on a tall foot rim, the shoulders applied with two handles, the cover surmounted with a recumbent lion dog before a spinning brocade ball and an 18th century jug. Period: mid 18th century. Height: 6 cm; 11 cm and 12 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 / Provenance: A Norwegian private collection. Hans Knudtzon (1751‑1823), thence by descent in the family. Hans Knudtzon became one of Trondheims most affluent citizens during the late 18th century, engaged as a merchant and in shipping. A large collection of silver, 18th century Chinese porcelain which he ordered and Danish 18th century porcelain from his collection were exhibited at Öregaard museum outside of Copenhagen in 1993. See Patrice Valfré, Yixing: Teapots for Europe for a teapot with recumbent lion dog before a spinning brocade ball on a rectangular section teapot. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1379. A rare Chinese Yixing bowl The rounded sides rising from a short tapered foot to a gently flaring rim, elegantly decorated in relief with swirling floral branches encircling the bowl. Period: 18th century. Diameter: 14,5 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: A Norwegian private collection. Hans Knudtzon (1751‑1823), thence by descent in the family. Hans Knudtzon became one of Trondheims most affluent citizens during the late 18th century, engaged as a merchant and in shipping. A large collection of silver, 18th century Chinese porcelain which he ordered and Danish 18th century porcelain from his collection were exhibited at Öregaard museum outside of Copenhagen in 1993. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1380. A rare Chinese yixing teapot and cover With octagonal-sectioned body and curved spout, the upright handle with roof formed terminal, moulded with chilong amongst scrolling clouds, the cover similarly decorated. Period: Mid 18th century. Height: 14 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 / Provenance: A Norwegian private collection. Hans Knudtzon (1751‑1823), thence by descent in the family. Hans Knudtzon became one of Trondheims most affluent citizens during the late 18th century, engaged as a merchant and in shipping. A large collection of silver, 18th century Chinese porcelain which he ordered and Danish 18th century porcelain from his collection were exhibited at Öregaard museum outside of Copenhagen in 1993. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

For condition reports visit: www.uppsalaauktion.se

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1381. A Chinese Qingbai stem cup and cup stand The cup is modelled with rounded sides and a straight rim supported on a splayed foot, resting on a stand modelled in the form of an inverted cup surmounting a circular stepped flange supported on a slightly splayed foot and punctuated underside, covered overall in a clear glaze of pale greenishwhite tone pooling to an aquamarine colour at the recesses. Period: Song. Height: 14 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1382. A white glazed ewer With an ovoid body and tapered foot, the tall waisted neck rising to a wide flanged mouth, set with an arched handle opposite a tall curved spout and flanked by two small strap loops, all beneath pale glaze, the foot unglazed exposing the white biscuit. Period: Probably Song. Height: 16 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1383. A Chinese famille verte lobed teapot and cover The lobed body divided into panels painted in famille verte enamels and decorated alternately with lotus issuing from a watery ground, chrysanthemum, prunus and peony all issuing from rockwork, and with birds and insects buzzing around, the cover with a geometrical band and a ruyi-band around the bud finial, the base glazed. Period: Kangxi. Height: 11 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1384. A jade ‘dragon’ belt buckle The carved shaft terminating in a dragon head, carved in high relief with a chilong clambering toward the dragon head, the stone of celadon colour with russet inclusions. Length: 14 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: A Norwegian private collection.

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Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price. For condition reports visit: www.uppsalaauktion.se

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1385. A Chinese incised green-ground aubergine-enamelled ‘dragon’ bowl The deep rounded sides rising from a straight foot to a slightly flared rim, incised and painted in aubergine enamel against a green ground with two five-clawed dragons striding amidst flames and cloud wisps in pursuit of ’flaming pearls’, all above cresting waves skirting the foot, the interior glazed in white, the base also white-glazed and inscribed in underglaze blue with a seal mark of Daoguang. Diameter: 11 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1386. A Chinese tea dust-glazed trilobed double gourd vase Formed as three conjoined double-gourd bottles bound below the upper lobes with a moulded ribbon tied in a bow, the bottle under a tea dust glaze. Period: 19th century. Height: 26 cm. / 4.000 - 6.000 / / 2 440 - 650 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1387. A coral-red reverse decorated ‘floral’ bowl The finely and deeply potted bowl resting on a short straight foot to a gently flared rim, the exterior reverse-decorated in a rich iron-red enamel with a continuous scroll of peony heads alternating with lotus dividing hibiscus and linked by curling tendrils reserved in white against the opaque coral ground and with the outlines of the leaves and petals penciled in iron-red, the interior left undecorated, the recessed white base inscribed in underglaze blue with a square sealmark of Jiaqing and of the period. Period: Jiaqing mark and period. Diameter: 13 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Norwegian private collection. 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. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1388. A pair of Chinese red-glazed dishes, Qianlong mark and period Each well potted with shallow rounded sides rising from tapered feet to everted rims, applied overall with an iron-red glaze, save for the rims and the bases left white, the latter inscribed in underglaze blue with seal marks of Qianlong and of the period. Diameter: 16 cm. / 8.000 - 10.000 / / 2 870 - 1.100 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price. For condition reports visit: www.uppsalaauktion.se

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1389. A Chinese purple-glazed ‘dragon’ bowl The deep rounded sides rising from a short straight foot to a flaring rim, a lilac glaze covering the exterior and the interior stopping at the white glazed rim, the exterior incised with striding dragons in pursuit of a flaming pearl above waves, the base glazed white. Period: 19th century. Diameter: 14,5 cm. / 4.000 - 6.000 / / 2 440 - 650 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

1390. A Chinese clair-de-luneglazed brush washer and a celadon lotus cup The brush washer of squat round form with a wide mouth, covered overall in a light clair-de-lune glaze and inscribed on the base in underglaze blue with a sixcharacter mark of Kangxi, together with a lotus-shaped cup covered in a light turquoise glaze. Diameter: 16 cm (washer) and height: 8,5 cm (lotus cup). / 6.000 - 8.000 / / 2 650 - 870 / Provenance: A Norwegian private collection. Buyers will be charged an import VAT of 12% in addition to buyer’s premium on hammer price.

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1391. A Chinese ‘tea-dust’-glazed bottle vase Raised on a round base with a bulbous body, long slender neck rising to a wide rounded garlic bulb at the top of the neck and covered overall in a rich teadust-green and yellow glaze of characteristic lightly mottled tone, the glazed base with concentric lines in various celadon colours. Period: 18/19th century. Height: 13,5 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: Formerly in the Lindberg family collection. Acquired at Stockholms Auktionsverk in 1953, lot 221, from the collection of Mrs Wallenberg. An example of a similarly glazed vase in the Victoria and Albert Museum is illustrated by Rose Kerr, Chinese Ceramics, Porcelain of the Qing Dynasty, 1644‑1911, London, 1986, p. 48, no 25; and another is illustrated by Regina Krahl, Chinese Ceramics in the Meiyintang Collection, London 1994, vol. II, pp. 256‑257, no. 936.

1392. A Chinese vase, meiping The broad-shouldered tapering body rising from a recessed base to a narrow short waisted neck with an everted rim, applied overall with a rich olive green glaze streaked in brown and red, the unglazed base painted with two characters in black. Period: 19th/20th century. Height: 15 cm. / 5.000 - 6.000 / / 2 550 - 650 / Provenance: Formerly in the collections of Ivar Traugott. For condition reports visit: www.uppsalaauktion.se

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1393. A pair of Chinese famille rose light blue-ground scraffiato ‘medallion’ bowls With slightly flared mouth rims rising from rounded sides and short straight feet, decorated on the exteriors 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 multi-coloured flames scattered on a light blue ‘scraffiato’ ground, the interior of the bowls painted in underglaze blue with a roundel depicting the cowherd and the weaver girl united in heaven by a magpie-bridge, surrounded by further flames and magpies around the sides, the bases painted with four-character square seal marks reading ‘Queqiao xiandu’ (immortal passing the magpie bridge) in red. Period: 20th century. Diameter: 18,5 cm. / 6.000 - 8.000 / / 2 650 - 870 / Marked 鹊桥仙渡 ’que qiao xian du’ translated as ’god crossing a magpie bird bridge’. The four-character mark of Queqiao xiandu is usually associated with Qixi (Chinese Valentine’s Day). 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).

1394. A pair of Chinese doucai ‘lotus’ bowls The deep rounded sides painted in doucai enamels with four stylised lotus blooms borne on a scrolling foliate meander, all above bands of lappets, and in between double circular lines around the rims and the moulded feet, the interiors glazed white, the bases inscribed with six-character marks of Guangxu in underglaze blue. Period: 20th century. Diameter: 16 cm. / 5.000 - 6.000 / / 2 550 - 650 /

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1395. A Pair of Landscape and Calligraphy Vases, Cong. Of square form and short neck, both delicately enamelled to one side with panels of figures on horseback crossing a bridge, an attendant walking behind carrying scrolls, on a nearby promontory a figure sits meditating, the other panel with figures in a pagoda in a watery landscape, two men in a boat nearby, both panels with a background of mountains, pine trees and and rocks, these alternate with two panels of six lines of calligraphy with a red seal all on a dense background of flowering lotus prunus and other flowering plants in famille rose enamels, the incurving foot and sloping shoulder with a continuous band of scrolling plants on a turquoise ground. The base has an iron-red Qianlong seal mark on a turquoise ground. Period 20th century. Height: 33,5 cm / 30.000 - 40.000 / / 2 3.300 - 4.400 / Provenance: Present owner´s grandmother acquired the vases between 1960‑1980, thence by descent.

For condition reports visit: www.uppsalaauktion.se

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1396. Two porcelain plaques Of rectangular sections, white-glazed and painted with Bapo 八破/锦灰堆 pattern. Period: 20th century. Measurements: 25 cm x 39 cm without frames. / 12.000 - 15.000 / / 2 1.300 - 1.600 / ’Ba’ in Chinese is the number eight, meaning ’plenty, whealthy and good fortune’; whilst ’po’ means ’broken’, but also implies the luck of surviving. ’Bapo’ is also known as ’Jin Hui Dui’ meaning treasures from accumulated ashes; or ’Ji Zhen’, precious collection. Bapo pattern usually takes broken book pages, half-burnt paintings, rubbings and scholar’s desk objects etc., and casually puts them together, creating a very special aesthetic experience. The idea of Bapo/ Jin Hui Dui was created in Yuan dynasty,but the pattern was first seen on a snuff bottle in Qing. Though it might has just been an unintented creation of artists’ left-over ink, Bapo pattern is very much appreciated by scholars through the time, and appraised as ’not a book but better than books, not a painting but better than paintings’.

1397. Two porcelain plaques Both of rectangualr sections, whiteglazed and painted with famille-rose colours. One plaque depicts two peacocks standing on a rock under a plum tree in full bloom next to the peonies; the other plaque painted a playful scen with figures and rooster, hens, bat and different plants. Period: Late Qing. Measurements: 38 cm x 27 cm (peacocks) 38 cm x 29 cm (figure). / 8.000 - 10.000 / / 2 870 - 1.100 /

148

1398. Four framed porcelain placques Of rectangular form, painted with four scenes that continue across the plaques of landscapes depicting a large walled compound of storeyed pavilions built on a lake island surrounded by green and turquoise cliffs and arbored with lofty pines and wutong trees, above smaller narrow porcelain plaques painted in doucai enamels and enclosing a stylised bat suspending chimes and ribboned peaches surrounded by lotus scrolls, all set in wooden frames. Period: Late Qing or Republic. Measurements: 59 cm x 23 cm (main placque); 9.5 cm x 28 cm (upper placque). / 30.000 - 40.000 / / 2 3.300 - 4.400 /

For condition reports visit: www.uppsalaauktion.se

149

1399. A blue and white bowl Of round form and foliate rim, decorated on the exterior with ladies holding lotus stems amidst scattered floral sprays and auspicious objects all above a band of raised moulded petal shaped panels each painted with a lotus flower, the interior with a central roundel decorated with a single lady holding lotus stems, the glazed base inscribed in underglaze blue with a six-character mark of Chenghua inside double circular lines. Period: Kangxi. Diameter: 20,5 cm. / 6.000 - 8.000 / / 2 650 - 870 /

1400. A Chinese blue and white baluster vase and cover The rounded baluster body rising to a short straight neck and surmounted by a domed cover with a bud finial, the body decorated with dense lotus scroll between a ruyi-head band around the shoulder and a lappet band around the foot, the cover similarly decorated. Period: 19th / 20th century. Height: 63 cm. / 8.000 - 10.000 / / 2 870 - 1.100 /

150

1401. A Chinese famille rose ‘landscape’ vase, hu Of pear-shaped form, the rounded sides resting on a short foot rising to a flaring mouth rim, the shoulder set with a pair of moulded archaistic handles, decorated around the body with large round medallions enclosing landscape scenes surrounded by green and turquoise cliffs and arbored with lofty pines and wutong trees, all on a ground of a dense scrolling floral decoration in underglaze blue, the neck and shoulder with bands and lappets also in underglaze blue, the glazed base inscribed in the centre with a square seal mark of Qianlong in blue. Period: 20th century. Height: 54,5 cm. / 35.000 - 40.000 / / 2 3.800 - 4.400 /

For condition reports visit: www.uppsalaauktion.se

151

1402. A Chinese blue and white ‘floral’ candlestick With cylindrical stem and octagonal moulded pan supported on octagonal tall waisted stand, the stand painted in shades of inky blue and decorated on each side with a floral sprig, the shoulder with a lappet band and a floral scroll, the neck with further floral bands and the pan with lappet bands, one section of the octagonal rim inscribed with horizontal six-character mark of Xuande. Period: 19th/20th century. Height: 18 cm. / 3.000 - 4.000 / / 2 330 - 440 / A very similar example dated to the Xuande period is in the Shanghai museum, China, and illustrated on the website of the museum.

1403. A Chinese blue and white ‘floral’ candlestick with cylindrical stem and octagonal moulded pan supported on octagonal tall waisted stand, the stand painted in shades of inky blue and decorated on each side with a floral sprig, the shoulder with a lappet band and a floral scroll, the neck with further floral bands and the pan with lappet bands, one section of the octagonal rim inscribed with horizontal six-character mark of Xuande. Period: 19th/20th century. Height: 18 cm. / 3.000 - 4.000 / / 2 330 - 440 / A very similar example dated to the Xuande period is in the Shanghai museum, China, and illustrated on the website of the museum.

152

1404. A pair of Chinese wucai ‘dragon and phoenix’ bowls The deep rounded sides rising from short tapering feet to slightly everted rims, painted around the exterior sides 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 borders decorated with the bajixiang divided by ruyi around the rims, the interiors 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 rims, the bases inscribed with Kangxi six-character marks in underglaze blue within double circles. Period: Early 20th century. Diameter: 15 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 / Provenance: Formerly in the collections of Wilhelm Montelius (1852‑1918).

For condition reports visit: www.uppsalaauktion.se

153

1405. A Chinese three-piece silver tea set Marked in Chinese Wen Wei Ji(文炜记) and KW(Kwan Wo), Canton or Hong Kong, 1880‑1920. Height: 9,5 cm 16 cm. Weight: ca. 1302 grams. / 6.000 - 8.000 / / 2 650 - 870 /

1406. A silver jardinière Marked in Chinese Jia Ji 佳记, and HC (Hung Chong) beneath, Canton & Shanghai, 1860‑1930, Length: 29,5 cm. Weight: ca. 1782 grams. / 8.000 - 10.000 / / 2 870 - 1.100 /

154

1407. 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. / 30.000 - 40.000 / / 2 3.300 - 4.400 / Provenance: Acquired by the present owners parents in the 1940´s.

For condition reports visit: www.uppsalaauktion.se

155

1408. A Chinese ”Dragon” Bottle Vase The body painted in bright famille rose enamels with two four-clawed dragons contesting the fiery pearl amongst ruyi-shaped clouds, on the shoulder a wide band of blossoms separated from stiff upright leaves by a band of triangularwork pattern, a third dragon is coiled around the neck amongst ruyi-shaped clouds, the flaring rim with a band of ruyi-heads, the foot with a continous wave pattern. The base with a sixcharacter mark in red of Guangxu. Period: Probably Guangxu. Height: 39,5 cm. / 20.000 - 30.000 / / 2 2.200 - 3.300 / Provenance: Business man Sigfrid Lundberg, Helsingborg (1885‑1964), by descent to his daughter Sig-Britt Swensson, thence to the present owner.

156

1409. A Chinese famille rose Canton porcelain clock The arched rectangular case finely enamelled in bright famille rose colours and gilding with rectangular panels enclosing palace scenes with ladies and boys engaged in various pursuits, all reserved on a ground of dense floral decoration, butterflies and ribboned auspicious objects. Period: Late 19th / early 20th century. Height: 36 cm. / 40.000 - 50.000 / / 2 4.400 - 5.500 / During the middle of the Kangxi reign (1662‑1722) Guangzhou became a focal point for trade between China and the West and became established as a clock-making centre. During the Qianlong reign (1736‑1795) it became a fullyfledged production base for chiming clocks. Early Guangzhou clocks were crude in comparison with their European counterparts but by the middle of Qianlong’s reign onwards quality soared and clocks from the city were once again sent as tribute to the Emperor. Colourful enamels -- known as ’Canton’ enamels -- were a characteristic decoration. The palette range varied from yellow, green, blue and other bright colours, although blue seems to have been the favoured ground colour for clock surfaces. For condition reports visit: www.uppsalaauktion.se

157

1410. A Chinese iron-red dragon dish Of round form and shallow bowl, decorated on the interior side in iron-red and gold paint with fiveclawed dragons in pursuit of a ’flaming pearl’ amongst billoing clouds, the galzed base inscribed to the center in underglaze blue with four characters’Ji Xiang Ru Yi 吉祥如意’, meaning ’good fortune as one wishes’. Period: Gangxu. Diameter: 14,2 cm. / 5.000 - 6.000 / / 2 550 - 650 / Provenance: W.O Möbius (1884‑1951), who lived and worked in Shanghai in 1917‑1935.

1411. A pair of famille rose vases Of slender form with flaring rims, painted in soft famille rose colours with flowering branches upon which birds perch, together with lines of calligraphy and small red seal marks, the bases with square seal marks in red. Together with silk lined boxes. Period: 20th century. Height: 19 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: Acquired by the present owner during the 1980´s.

158

1412. A Chinese aubergine, green and yellow-glazed bowl The deep rounded sides rising from a slightly tapered foot to an everted rim, the exterior decorated with three large swimming carps picked out in white and aubergine glaze, one with a spotty skin, and surrounded by aquatic plants in green enamel, all reserved on a bright yellow ground also covering the interior of the bowl and the base. Period: 19th century. Diameter: 18 cm. / 8.000 - 10.000 / / 2 870 - 1.100 /

1413. A Chinese famille rose sgraffiato-ground ‘medallion’ bowl The deep rounded sides supported on a short foot, the exteriors with four medallions intricately enamelled with archaic bronzes, scholar’s desk objects, lanterns and vases filled with millet grains and prunus respectively, interspersed with floral sprays, all reserved against a ruby sgrafiatto ground incised with feathery scrolls, the interior decorated in shaded tones of cobalt-blue with an octagonal rosette encircled by four large festival lanterns at the cavetto, the recessed base inscribed with a square seal mark of Qianlong in underglaze blue, but later. Diameter: 14,5 cm. / 6.000 - 8.000 / / 2 650 - 870 / Provenance: Formerly in the collections of Felix Tegengren (1884‑1980). Felix Tegengren was a Swedish geologist who worked in China in 1914‑1917 and in 1922‑1928. Terese Tse Bartholomew has identified the combination of a lantern (denglong) and ears of grain (wugu) as a rebus meaning ’May there be a bumper harvest of the five grains.’ See her Hidden Meanings in Chinese Art (Asian Art Museum of San Francisco, 2006), p. 241, entry 8.16.1. For condition reports visit: www.uppsalaauktion.se

159

1414. An ormulu mounted wucai vase Period: Early 18th century. Height: 20 cm. / 20.000 - 25.000 / / 2 2.200 - 2.700 /

1415. A Chinese celadon crackle-glaze vase The ovoid baluster body rising from a short slightly everted foot to a short straight and lipped neck, applied overall with a light celadon glaze suffused with a network of black and faint russet crackle, the glaze stopping above the footring revealing the brown body. Period: 19th century. Height: 34 cm. / 12.000 - 15.000 / / 2 1.300 - 1.600 /

160

1416. A Chinese ormolu-mounted famille verte inkstand Of bombé oval form, the sides flanked by blue animal mask handles suspending moulded rings, richly enamelled overall with passion flower vine, and two large oval panels of peony, its four apertures now mounted in gilt bronze, three having gilt bronze lids, all supported on three short gilt bronze legs. Period: 18th century. Height: 11 cm, Length: 26 cm. / 30.000 - 35.000 / / 2 3.300 - 3.800 / A stand of this form with Spanish arms that can be dated precisely to 1742 is illustrated by A. Diez de Rivera, The Spanish Market, Oriental Art, vol. XLV, no 1, p 41.

For condition reports visit: www.uppsalaauktion.se

161

1417. A Chinese blanc-de-chine figure of ten-armed Guanyin Seated with ten arms holding various ritual implements, wearing loosely draped robes open at the chest and a shawl which falls down from the shoulders, the face with gentle smile, the hair drawn into a high chignon encircled by a fivepoint pendant crown with Amitabha Buddha, all supported on a lotus base elevated on lotus leaves and further elevated on a base of foaming waves. Period: 20th century. Height: 24 cm. / 8.000 - 10.000 / / 2 870 - 1.100 /

1418. A Chinese glass snuff bottle The flattened ovoid body painted on the inside of the glass with on one side a mythological European scene and calligraphy and on the other with a portrait of European lady and calligraphy with small red seal, the flattened sides carved with moulded handles, together with a white hardstone stopper. Signed with the name Zhang Guangqing(1948-), a master of the inner-drawing arts, dated the year of Xinyou, 1981. Height: 8 cm. / 3.000 - 4.000 / / 2 330 - 440 / Provenance: Acquired by the present owner during the 1980´s.

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1419. Four Chinese mille-fleur dish Of round form, decorated on the fronts with a mille-fleur pattern on famille noire grounds, the backs white-glazed and painted with floral scrolls in soft famille rose, the bases inscribed with six-character marks of Guangxu in red. Period: 20th century. Diameter: 20,5 cm. / 2.000 - 3.000 / / 2 220 - 330 /

1420. A set of twelve ”Nanking cargo” dishes Decorated in underglaze blue. Period: ca 1752. Diameter: 19 cm. / 3.000 - 4.000 / / 2 330 - 440 / The Nanking Cargo was excavated by Captain Michael Hatcher in 1985 when he found an ancient Asian junk containing among other things pieces of porcelain. Provenance: Christie’s Amsterdam in April/May 1985, ”The Nanking Cargo Chinese Export Porcelain and Gold”, catalogue number 3239. For condition reports visit: www.uppsalaauktion.se

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1421. A Japanese mixed metal inlaid covered vessel The quatrefoil lobed body on a tall foliate pedestal foot, flanked on the shoulders by moulded phoenix handles and surmounted by a domed cover with a chrysanthemum blossom finial, each side of the body with a large shaped cartouche of kacho-ga in iroe taka zogan, one panel set by a small stream with birds perching amongst or flying above blossoms and tall grasses issuing from the ground, the other panel with a gnarled flowering tree standing in water with a large bird perched on its trunk, further smaller birds above, lotus growing on the water and below the surface of the water two swimming fish are visible, a third fish has been caught in the beak of swooping crane, the sides with shaped gilded bands decorated with phoenix holding stems in their beaks reserved on diaper grounds, above leafy sprays moulded in relief on the body, the shoulder with a continuous floral scroll also in relief, a keyfret band around the rim, the domed cover decorated with chrysanthemum, the base with a gilded signature. Period: Meiji. Height: 18 cm. / 8.000 - 10.000 / / 2 870 - 1.100 /

1422. A pair of Japanese gold-inlaid bronze vases Each of baluster shape rising from flaring feet to a stepped shoulder and a wide everted neck flanked by archaistic handles issuing from animal heads, inlaid in bronze and gold with peacocks and birds amongst large blossoming branches and grasses in low relief on the bodies and stylised archaistic insects on either side of the necks. Period: 19th / 20th century. Height: 32,5 cm. / 10.000 - 12.000 / / 2 1.100 - 1.300 /

164

1423. A fine pair of Japanese inlaid bronze vases Each of baluster shape with waisted necks, everted foliate mouth rims and flaring feet, each decorated with two large oval panels of kacho-ga in iroe taka zogan, one panel with ducks in water, lotus and aquatic plants issuing from the water, sparrows perching on branches of blossoming trees or flying above, one bird just exiting the water drying itself; one panel similarly decorated but with a crane perching on the trunk of a flowering tree; one panel again with a watery scene of two large ducks swimming or catching a fish, finely rendered with a decoration that conveys how half the body of one bird is submerged below the water and with the head and neck of the other bird submerged beneath the surface so as to catch a fish in its beak, further fish rendered below the surface of the water swim by, together with a crustacean, all set underneath hanging tall grasses and flowers; and one panel again with a watery scene with fish swimming beneath the surface of the water together with a crustacean, little crabs crawling on the ground, and a red-capped bird perching on a branch ready to pounce on the fish below amidst tall grasses and flowers, each panel framed by the finely moulded long feathered wings of a phoenix bird, and divided by large shaped bands of moulded lotus, chrysanthemum and further flowers together with butterflies on gilded diaper grounds, in between phoenix in flight above and mythical beasts below moulded in low relief, the necks with collars of shippo-tsunagi (linked cash) ground, and elaborate pendant or upright borders around the mouth rims and feet, the bases both with incised signatures on gold plaques. Period: Meiji. Height: 23,5 cm. / 15.000 - 20.000 / / 2 1.600 - 2.200 / 1424. A Japanese bronze inlaid box and cover Of rectangular form with rounded corners and foliate feet, the cover with a rectangular panel in iroe taka zogan enclosing flowering branches, set on a ground of scrolling leafy branches, the sides with gilded lotus and vine branches connecting the cover and the box, one corner with a small gilded signature. Period: Meiji. Length: 15 cm. / 6.000 - 8.000 / / 2 650 - 870 / For condition reports visit: www.uppsalaauktion.se

165

To be sold at the Modern Sale Thursday 16 June 2016, 12 noon

LEI LI

166

DENG WUSHU

LIFENG SHI

167

168

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uppsala auktionskammare 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 UAK is in its discretion entitled to require that the Bidder, to be allowed to bid at a specific auction, generally or for a specific item or specific items, deposits an amount stipulated by UAK in accordance with a procedure assigned by UAK. If the Bidder is the successful bidder and then does not pursue his or her purchase, the Bidder accepts that the deposit is forfeited to UAK as standardized damages, without the right to any deduction for the Bidder. If UAK’s loss in consequence of the nonpursuing of the purchase by the Bidder substantially exceeds the deposit, UAK is entitled to claim the difference from the Bidder. If the Bidder is not successful in the bidding that the deposit is related to, UAK shall as soon as possible return the deposit to the Bidder, provided that the Bidder is not indebted to UAK for any other reason. 2.4 Registration is conditional on the Bidder agreeing to these Terms and Conditions. 2.5 The Bidder acknowledges that before and/or after the registration, UAK may conduct a credit review (or equivalent) of the Bidder. 2.6 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 non-Swedish 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. 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 For condition reports visit: www.uppsalaauktion.se

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timepieces or otherwise in any technical manner. 8.5 UAK shall never be liable for information concerning any lots that may be provided orally. 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

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.

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

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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.

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20.3 Payment shall be made either by deposit in the UAK bank-giro account, plus-giro account or bank account or by Swedish bank card or by some major credit cards. When paying by card, the credit-card 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. 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 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 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 November 2015. 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.

For condition reports visit: www.uppsalaauktion.se

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

Karl-Magnus Törnros Intendent Specialist tornros@uppsalaauktion.se

Sara Gellermark Ekonomichef CFO gellermark@uppsalaauktion.se

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

Clara Sunesson Intendent Specialist sunesson@uppsalaauktion.se

Charlotte Johansson Ekonomi Accounts c.johansson@uppsalaauktion.se

Knut Knutson Expert Head Specialist mail@uppsalaauktion.se

Jeanna Ahlin Intendent Specialist ahlin@uppsalaauktion.se

Agnes Lidehäll Marknadskoordinator Marketing Coordinator lidehall@uppsalaauktion.se

Charlotte Widenfelt Intendent Specialist widenfelt@uppsalaauktion.se

Catherine Klev Assistent Assistant c.clev@uppsalaauktion.se

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

Rikard Klev Chefsintendent Senior Specialist klev@uppsalaauktion.se

Katherine Huang Assistent Assistant huang@uppsalaauktion.se

Olav Nyhus Fotograf Photographer

Fredrik Blidberg Intendent Specialist blidberg@uppsalaauktion.se

David Magnusson Assistent Assistant magnusson@uppsalaauktion.se

Åsa Liffner Fotograf, konsult Photographer, consultant

Oscar Silfverhielm Intendent Specialist silfverhielm@uppsalaauktion.se

Lina Lönnedahl Assistent Assistant lonnedahl@uppsalaauktion.se

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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