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Old 09-09-2020, 11:09 AM
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Photos from the Instagram of Håkan Groth, antique dealer, writer, photographer and author of Neoclassicism in the North.

The fountain the ‘Crown’ (Kronan) looking towards Flora’s Hill that lies at the end of the formal Baroque garden at Drottningholm.
The Sylvan Theatre (Lövteatern) in the garden at Drottningholm was created during the time of King Adolph Fredric and Queen Lovisa Ulrica (1744-71), number 12 on the map. There are several ‘dressing rooms’ for the actors created inside the hedges. Performances are still given here some summers.
A statue of Apollo was placed at the end of the stage of the Sylvan Theatre.
This (now a modern cast of the 18th century original), was one of several marble copies of statues from Antiquity ordered by Gustaf III from Bartolomeo Cavaceppi in Rome 1783.
Gustaf III planned several picturesque features in the Landscape garden that he began to plan shortly after he took possession of Drottningholm in 1777. The French architect Louis-Jean Desprez, who Gustaf had met in Rome during his visit there in 1783-84, designed this, the Gothic Tower. It was built in 1792, the year of the King’s assassination, but the interior was never decorated.
When Prince Carl (Gustaf III’s younger brother) acted as regent during the minority of his nephew Gustaf IV Adolph in 1792-96, he had this wooden bathhouse built at Drottningholm. It contained eight separate cabins with basins inside opening into the lake. It is the oldest surviving building of this kind in Sweden.
The formal Baroque garden at Drottningholm was originally walled with ornate gates nearest to the palace. They were made in 1697-99 and the gilt metal work, incorporating the crowned monogram of Queen Hedvig Eleonora HERS, was done by the goldsmith Johan Ulrich Kickow in Stockholm.
The Governor’s Villa (Ståthållarvillan), no. 10 on the map, was build in 1786-87 and is attributed to Gustaf III’s architect Olof Tempelman. It is situated at the edge of the Landscape Garden at Drottningholm. It was not an important building, but it was designed to be a decorative feature seen across the park.
The inspector lived downstairs and the vicar of the Lovö Parish (which Drottningholm belongs to) resided upstairs.
In 1816 the downstairs was rebuild as a residence for the Governor of Drottningholm. Today it’s divided into private apartments.
The wonderful guard’s building, built by the architect Carl Fredric Adelcrantz for Gustaf III, was designed in 1781 as a Roman, or Tartar, tent, no. 8 on the plan. Adelcrantz copied it directly after a French design by an unknown architect, but reduced it in size. He also added the Swedish coat of arms (instead of the French) and the Wasa dynasty wheat sheaf to the roof. It is unknown if these decorations were ever done.
It is positioned on the approach to the Chinese Pavilion and had lodgings with beds for twelve soldiers downstairs, and rooms for officers upstairs. They were probably only stationed here when the royal family was visiting the Chinese Pavilion.
It is a wooden house, with the front and sides clad with metal shearing painted to imitate striped fabric. The only windows are at the back.

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Old 09-13-2020, 06:48 AM
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Photos taken on 11th September by photographer Henrik Montgomery, of the royal residence wing of the Drottningholm Palace.
TT Nyhetsbyrån

Photo by Mikael Damkier

Photo by Jonas Borg

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Old 09-19-2020, 08:52 AM
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Photos from the Instagram of Håkan Groth, antique dealer, writer, photographer and author of Neoclassicism in the North.

The present Chinese Pavilion in the park at Drottningholm was built in 1763-69 after a design by the architect Carl Fredric Adelcrantz as a replacement for the small first pavilion from 1753. It is a European Rococo building with Chinese decorations. There were never the ambition at this period in time to create an authentic Chinese building, just an elegant building with Chinese decorations. It was never lived in by the royal family, just intended as place to spend beautiful summers day in private with a selected group of friends and courtiers.
The pavilion is remarkably well preserved since the time of Queen Lovisa Ulrica and has been lovingly restored and maintained over the years. It also became a favourite retreat for Gustaf III who didn’t do any major changes to the the elegant Rococo interiors.
Some of the fanciful decorations on the façades of the Chinese Pavilion in the park at Drottningholm designed by Carl Fredric Adelcrantz and built in 1763-69 for Queen Lovisa Ulrica of Sweden and her family.
The designs by Carl Fredric Adelcrantz for the new Chinese Pavilion built in 1763-69 for Queen Lovisa Ulrica in the park at Drottningholm. It isn’t certain who actually produced these watercolours drawings.
The upstairs was reserved for the Queen’s private used, but there was also a small library there where a librarian was on duty during the royal family’s visits.
This elegant set of coloured drawings made c 1770 are now in the ‘Staatliche Kunstbibliothek’, Berlin, as they were most likely given by Queen Lovisa Ulrica to her brother Prince Heinrich of Prussia when he came to visit her in Stockholm, as she was very proud of her new Chinese Pavilion.
A map of the Chinese Pavilion and its surrounding buildings. Made during the time of Gustaf III in 1779 by Lars Kökeritz.
1 The Chinese Pavilion (Kina Slott)
2 Pavilion for storing silver table ware, porcelain, etc (Silverkammaren)
3 The Billiards Pavilion
4 King Adolph Fredric’s Pavilion
5 The ‘Confidence’ Dining Pavilion (Confidencen)
6 The kitchen
The Swedish names in brackets.
King Adolph Fredric’s Pavilion built in 1760 by Carl Fredric Adelcrantz is the oldest of the buildings that forms the Chinese Pavilion in the park at Drottningholm. It contained two workshops where the king could do his favourite pastime of woodturning, an anteroom and a room for resting.
There is clock with a bell that chimes every hour.
It has served as a caretaker’s residence since the late 18th century.
King Adolph Fredric’s lathe and tools are preserved and are now exhibited in the former Billiards Pavilion at the Chinese Pavilions. Woodturning was popular amongst royals and aristocrats, even Queen Lovisa Ulrica is said to have enjoyed it! Portrait of the king by Lorentz Pasch the Elder (1733-1805).
The Billiards Pavilion where King Adolph Fredric’s wood turning tools and lathe is now on display. Billiards was a very popular pastime in the 18th and 19th centuries and ladies were also keen players.
‘The Billiards Table’ by Thomas Rowlandson, 1840s
‘Ladies playing Billiards’, by Charles-Edouard Boutibonne, 1869.
The ‘Confidence’ (to the right) is a dining room where the dining table and four serving tables are fixed on a lift device. The tables were set on the floor below and on a given signal they were hoisted up through the floor. This meant that the royals and their guests could eat in private without the presence of eavesdropping servants.
Gustaf III has the interior redecorated when the walls were clad with yellow stucco.
The stairs on the drawing were never built. The kitchen was situated in a separate building behind.
The kitchen building at the Chinese Pavilion has survived intact since it was built in the 1760s. Outside is a summer café, famous for its freshly baked waffles, always served with raspberry jam and whipped cream!
The ’Confidence’ Pavilion with the kitchen beyond. Sadly I hear the café in the kitchen, that was opened in 1957, is now closed.
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Old 09-21-2020, 02:52 PM
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Photos from the Instagram of Håkan Groth, antique dealer, writer, photographer and author of Neoclassicism in the North.

The Marble Hall is not very Chinese in taste, or very Rococo in style. This octagonal room is more Neoclassical with its strict decor, elaborately inlaid marble floor and marble stuccoed walls.
The architect Carl Fredric Adelcrantz was as Royal Superintendent responsible for the building of the Chinese Pavilion, but it is more likely that it was his assistant the architect Jean Eric Rehn who designed the interiors.
The Red Cabinet (no. 2 on the plan) is the only room in the pavilion trying to emulate a genuine Chinese interior. The designer Jean Eric Rehn was influenced from designs published by the Scottish-Swedish architect Sir William Chambers in his pattern book ‘Designs of Chinese Buildings, Dresses, Machines, and Utensils.... (London), 1757.
The Chinese lacquer panels made in southern China in the mid-eighteenths century comes from a screen that had been imported to the first Chinese Pavilion. These lacquer screens were a novelty i Europe as no equivalent works excised here. The two round over door paintings were painted by a Swedish artist.
The Japanese lacquer cabinet is a rare example of imported furniture at this time.
There are four elaborately carved and gilded Rococo corner console tables in the pavilion made by an unknown master craftsman in the mid-eighteenths century.
A wonderfully elegant ormolu chandelier, most probably Swedish c 1760 hangs in the Red Cabinet.
This stool, one of a series made especially for the Chinese Pavilion, are of a early Neoclassical style.
It seems that the designer, probably Jean Eric Rehn, thought these black and giltwood stools were suitable in a Chinese style room.
A Chinese glass painting is fitted in at the top of of a mirror in the Ted Cabinet in the Chinese Pavilion.
Painting on glass was not a Chinese tradition, but the Europeans sent out sheets of glass to China, and the artists painted the motif in reverse on the back.
When they arrived in Europe the back of the glass was coated with a mixture of tin and mercury to turn it into a mirror.
Needless to say, these Chinese painted mirrors were very expensive to make and very exclusive. Not many have survived till today.
The Yellow Gallery is one of two curving galleries that connects the main building to the end pavilions.
Sadly missing are the original wall paintings of landscapes, but they would have been painted in the same style as the paintings above the doors.
The original Rococo benches that gently curves following the walls, are still here.
The Green Salon (no. 4 on the plan) is a very airy and light filled room with windows on three sides.
The walls are most likely painted by the artist Johan Pasch (1706-69) after engravings by François Boucher. The motifs are typical for the eighteenths century’s romantic vision of life in China. It has a floor laid with Swedish limestone in two colours.
It is interesting to note that the reconstructed curtains and roller blinds are blue in contrast to the green walls. Most rooms have only roller blinds, often in a contrasting colour to the rest of the room.
The elegant Mirror Salon (no. 5 on the plan)!is the room in the Pavilion with the least Chinese flavour. The original furniture is missing, but a set of Gustavian chairs that belonged to Gustaf III covered with an eighteenths century hand painted silk are placed in here.
The French rock crystal chandelier made c 1700 was brought over from Drottningholm Palace in the 1760s when the pavilion was being furnished.
One of a set of wonderful Rococo console tables in the Chinese Pavilion made by Johan Ljung in Stockholm c 1760.
The blue and white early 18th century urn is part of the large collection of Chinese porcelain that belonged to Queen Hedvig Eleonora (1636-1715).
A close up of the ‘Chinese’ style decorations in the Mirror Salon. The carved dragons are gilded in two colours of gold. Chinese dragons newer had wings though....
One of the three overdoor decorations in the Mirror Salon painted with Chinese scenery by a Swedish artist, probably Johan Pasch.
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Old 09-24-2020, 11:21 AM
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Photos from Instagram of Håkan Groth, antique dealer, writer, photographer and author of Neoclassicism in the North.

The Bedroom in the Chinese Pavilion never had a bed as Queen Lovisa Ulrica and her family never spend the night here. The queen did retire here to have a rest and maybe an afternoon nap in the small sofa. Her husband had his room for resting in his own pavilion.
This interior is very well preserved with the original fabric decorated with silver braid on the walls. The colour scheme of cerise, green and silver, is similar to interiors decorated in Germany at this time.
This room is also the only room in the pavilion that had proper curtains, which had survived in good condition, but for some reason they were used to upholster the furniture during the major restoration in the 1960. Silk moire is easy to buy, so it is a shame that they couldn’t have preserved the curtains as they were, or that they haven’t replaced them now.
The small but elegant Rococo sofa in the bedroom.
A Japanese lacquer cabinet on an elegant Swedish Rococo giltwood stand, possibly designed by Jean Eric Rehn, is found in the Bedroom.
The Embroidered Room (room no. 7) in the Chinese Pavilion was decorated as Queen Lovisa Ulrica’s study, but also came to be used for conversation and reading loud. According to tradition, the Queen herself and her ladies in waiting embroidered the wall panels. The embroideries were cleaned and transferred to a new white silk panels during the major restoration of the building in the 1960s.
The Chinese blue and white early 17th century urns are thought to have belonged to Queen Christina.
A set of ‘Blanc de Chine’ porcelain dolls on consoles around the room, dates from the late 17th century and comes from the extensive collection that belonged to Queen Hedvig Eleonora.
A set of painted Chinese glass panels have been fitted into the panelling around the over mantle mirror in the Embroidered Room.
The silk covering the giltwood Rococo chairs was hand painted in the 1960s after a piece of 18th century Chinese silk found in the Royal Collections.
The Yellow Cabinet (no. 8) is a pendant to the Red Cabinet (no. 2) on the opposite side of the Marble Hall.
An attempt was made to decorate these rooms in a more authentic Chinese style than the others. Both have imported mid-18th century Chinese lacquer panels on the walls. Below are eleven tablets with Chinese inscriptions, but they are not possible to read as they have been painted in Sweden and doesn’t make any sense, their purpose is just to be decorative.
The ones above are painted with motifs after William Chambers’s published illustrations.
The three paintings with Chinese’s motifs above the doors are probably painted by Johan Pasch after engravings by François Boucher.
One of a pair of Chinese urns with kids from the first half of the 17th century that comes from the large collection of Chinese porcelain that belonged to Queen Hedvig Eleonora of Sweden (1636-1715).
One of the elegant stools especially made for the Chinese Pavilion that are very early examples of Neoclassical furniture in Sweden.
The Blue Salon (no. 10 on the plan) designed by Jean Eric Rehn as a pendant to the Green Salon (no. 4) on the opposite side.
The walls are painted with small scenes of outdoor pursuits by Chinese people. They are probably painted by Johan Pasch after engravings by the French artists Watteau and Boucher.
This room served as the dining room in the pavilion and it originally had a limestone floor with an oriental carpet on the floor. It is listed as ‘Turkish’ in the inventory, but it might just as well have been Persian. Imported oriental carpets were rare (and expensive) at this time in Sweden.
An interesting detail in the Blue Salon is the mirror above the fireplace. The carved branch with flowers looks almost Art Nouveau in my opinion, most unusual for the Rococo of the 1760s.
The dining chairs in the Blue Salon were painted black to imitate Chinese lacquer. This model was very popular (inspired by English and Dutch chairs) and made in great numbers in the mid- to late eighteenth century with slight variations. In the Rococo period they were usually painted grey or yellow, in the Gustavian period, the legs were turned straight, and were sometimes painted to imitated mahogany, a wood which by then had become popular in Sweden.
It wasn’t until the late 19th century during the Victorian era that they started to paint these chairs black to make them look in the Baroque style which was the fashion then.
I forgot to post this photo of one of the painted canvas panels in the Green Salon.
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Old 09-27-2020, 12:04 PM
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Photos from Instagram of Håkan Groth, antique dealer, writer, photographer and author of Neoclassicism in the North.

The Octagon Salon (no. 1 on the plan) is the central room on the first floor of the Chinese Pavilion. From here you have a splendid view of the surrounding area and access to a balcony as well as the other rooms in this floor.
The hand painted Chinese silk on the walls is the original that was made for the European market in the early 1760s. It is remarkably well preserved, but faded. When the room was restored they could see the original colours and hand the new fabric for the chairs painted like it. The tiles stove is most likely to have been made by the Rörstrand factory in Stockholm.
This room has an amazing echo sound if you talk in here, or even just walk around on the parquet floors. It must be thanks to the vaulted ceiling.
The rooms upstairs are typical Swedish with their panelling and tiled stoves. Only the textiles or the wallpapers are Chinese, as are the decorative objects.
Gustaf III used the Oval Salon (no. 2) as his study and brought the French Louis XVI secretaire here that he could sit and work at.
The present wall covering is a silk fabric, hand painted in 1907 after an eighteenths century piece in the Royal Collection.
Gustaf III purchased eighteen English mahogany Chippendale chairs, made in the 1770s, to use as dining chairs in the Blue Salon after he took possession of Drottningholm and the Chinese Pavilion. They are now placed in the Oval Salon.
When Gustaf III had his pavilion at Haga built and decorated in the late 1780s, he had a set of grey painted chairs inspired by Chippendale made for his dining room there.
They are an interesting and unique hybrid of a simplified version of a Chippendale design and a traditional Gustavian chair.
A pair of Swedish pedestals in the Oval Salon are inspired by an engraving of a genuine Chinese piece published by Sir William Chambers. Chippendale also produced similar pieces of furniture in England.
A set of twelve charming Chinese paintings on glass of ladies playing various musical instruments hangs on the walls in the Oval Salon.
When the Library in the Chinese Pavilion was restored in the 1960s the original wall covering of pink rice paper was found underneath a late 19th century paper. It miraculously had imprints preserved that showed where all the small giltwood consoles supporting Chinese figures had been. This made it possible to put all the consoles and figures back where they had been in the 18th century.
It was a functional library with around 700 books (now about 550). There is mostly French literature brought here by Gustaf III. During his time there was a book catalogue o the collection in the Red Cabinet (on the floor below). It was possible to borrow books for the day after submitting a written request to the resident librarian.
The Swedish made bookcase, decorated in Chinese style black lacquer, is in fact two pieces of furniture. The lower section is a desk that can be separated and a practical writing slide can be pulled out.
The Cabinet Antechamber (Room no. 4) is quiet a dark room with only one small north facing window. The original hand painted Chinese wallpaper imported in the 1760 is very well preserved.
In the corner, next to the tiles stove, there is a jib-door that conceals a ‘chaise percée’, or close stool. This example is a giltwood Gustavian armchair, upholstered with a blue silk damask, with a loose seat that hides a chamber pot.
At the time of Gustaf III in the late 18th century there were three such chairs hidden away for the royals to use and a further five, presumably for the visitors, down in the basement.
The Yellow Cabinet (no. 5) is the last and the smallest room in the Chinese Pavilion. It still has its original hand painted Chinese silk from the 1760s covering the walls.
It has faded a bit, but is sill in a remarkable condition. When the pavilion was restored in the 1960s the discovered the original much brighter colours behind the gilt mouldings surround it. The two chairs were recovered with a new silk copied after the old, but painted in the brighter original colours.
The round black lacquered table is made in China for the European market and the barometer was made in Stockholm in the 1750s.
A theatrical view of the Chinese Pavilion in the park at Drottningholm Palace by Louis-Jean Desprez (1743-1804).
Gustaf III had taken over Drottningholm with the Chinese Pavilion from his mother Queen Lovisa Ulrica in 1777. He had spent many idyllic summer days there with his family as a child and continued to do so as a the proprietor.
He had met the French architect Louis-Jean Desprez in Rome during his Italian trip 1783-84 and hired him to come to Stockholm to work as a stage designer. The king soon commissioned him for other projects as well, especially for his planned palace at Haga, but also for Drottningholm and the Chinese Pavilion.
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Old 10-07-2020, 10:54 AM
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Photos from Instagram of Håkan Groth, antique dealer, writer, photographer and author of Neoclassicism in the North.

The Drottningholm Court Theatre was built in 1764-66 by the architect and superintendent Baron Carl Fredric Adelcrantz for Queen Lovisa Ulrica and King Adolph Fredric. It was the third theatre built at Drottningholm for the Queen, and the second on this place (the previous having burnt down in a dramatic fire). It was completed in time for the festivities celebrating the marriage of Crown Prince Gustaf (III) to the Danish Princess Sophia Magdalena, and the first performance took place 9 July 1766.
It was one of the most modern and advanced theatre in Europe and the Queen has hired first class singers and actors from Italy and France to perform here. Many operas had their premiere here before being performed at the opera in Stockholm.
Many performances took place here, but from the 1860s it was only used as a storage. Everything was left to gather dust, but in 1921, it was decided to clean it up and performances occasionally took place here again. The original machinery had survived intact and sets of decorations had been preserved.
Regular performances open to the general public began in 1947 and has continued ever since. The only major changes is that electric light has been restored, and the sets have been replaced with copies of the originals.
Adelcrantz designed the interior, but the work was done by the French woodcarver/sculptor Adrien Masreliez. The materials used was, stucco, wood an papier-mâché, painted trompe l’œil to imitate marble and gilding.
The front part of the auditorium was reserved for the king and queen and the senior courtiers. The last section at the back, that could be screened off, was intended for the royal servants that could sit on benches with no back supports. The king and queen had a pair of giltwood armchairs at the front. There were a few chairs directly behind them and benches with backs for the courtiers, but there was a strict protocol regulating who was allowed to sit where.
The stage was the deepest in the country, and being almost 18.5 metres it is still one of the deepest. The floor is sloping slightly towards the front giving the illusion of being even deeper. There are trap doors for disappearing acts, a narrow chariot in the shape of a cloud that can descend onto the stage precariously carrying a singer, a wind machine and a ‘thunder’ machine, both creating illusory noices. Rapid changes of up to six sceneries can take place without lowering the curtain.
There are two balconies with trellis screens where someone could sit who wanted to watch, but not be seen during a performance. Directly opposite are balconies on either side of the stage. They were for people who wanted to be seen, but to watch, as it would be impossible to see the performance on the stage behind them.
The curtain at the Drottningholm Court Theatre with Queen Lovisa Ulrica’s floral monogram held in the centre by the goddess Minerva.
The elegant simplicity behind the scene at the Drottningholm Court Theatre. There were many rooms both upstairs and downstairs for the the actors and staff, but also rooms for some of the courtiers. There were about 100 to 150 people working in the theatre during the summertime performances in the 18th century.
The dressing room of the ‘Prima Donna’ at the Drottningholm Court Theatre still has the original hand painted wall paper. The dressing rooms are still used by the performers during the summer seasons at the theatre.
One of the bedrooms with the original decor from the 1760s with hand painted wall paper. The bed and bedding is also from the period but the bed curtains are new.
Gustaf III commissioned the French architect Louis-Jean Desprez to design a new foyer to the Drottningholm Court Theatre. It was built in 1791, the last summer the king was alive. It gave the theatre a Neoclassical façade facing the new English Park which had been created on the site of the old malaria infested swamp on the north side of the formal Baroque gardens.
The royal reception rooms were also moved from the opposite side (compare the floor plans) to be adjacent to the new foyer.
Sadly the interior of the foyer of the Neoclassical extension to the Drottningholm Court Theatre designed by Louis-Jean Desprez was never completed. It has a balcony for musicians and was originally called the “Sallon pour les Festins et les Ballets”, but from the 19th century it has been known as “Déjeunersalongen” (Salon du Déjeuner).
One of the new royal reception rooms created in 1791 at the Drottningholm Court Theatre. They had very simple decor, but were beautifully furnished with chandeliers, carpets and furniture for each summer season that it was in use.
The architect and royal superintendent Baron Carl Fredric Adelcrantz (1716-96), who had built the Court Theatre at Drottningholm in 1762-64, was also the director of the theatre and had a large bedroom on the ground floor at his disposal during the summer season.
When Gustaf III relocated the royal reception rooms from the east side to the west side, the decor of his former bedroom was also then dismantled and transferred to the opposite side.
The portrait of Adelcrantz above the mantlepiece was painted by Alexander Roslin.
On the occasion of Queen Elizabeth II’s first state visit to Sweden in 1956 (which coincided with the Equestrian Olympic Games held in Stockholm) a gala performance was given at the Drottningholm Court Theatre.
Its first museum director, Professor Agne Beijer, is here seen demonstrating the original machinery (to the left the ‘wind’ machine) of the theatre for Prince Philip, Queen Elizabeth, Princess Margaret and King Gustaf VI Adolf.
Gustaf III placed a statue of Apollo di Belvedere outside the Court Theatre at Drottningholm Palace. It was one of a number of marble statues the king had purchased in Rome during his Italian trip in 1783-84 to be placed in the gardens at Drottningholm. They have now been replaced by modern copies.
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Old 10-11-2020, 01:34 AM
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In the stairhall of Drottningholm Palace
Louis XV portrait
Hall of generals
Gallery of Karl XI
Maria Leszczyńska, queen of France
Table with stone intarsia from queen Hedvig Eleonora's bedchamber

From the palace

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