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.