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Old 09-09-2020, 11:09 AM
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Join Date: Jun 2007
Location: Southwest, Finland
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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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Imperial Majesty
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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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Location: Southwest, Finland
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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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