As part of a series of studies of guhua (ancient Chinese painting) in a developing global market in the early 20th century, this paper focuses on the movement of guhua in two collections of E. A. Strehlneek — a hitherto shadowy European dealer who resided in Shanghai from the 1890s to 1940s. In their movements to the two extremities of the Eurasian continent, Strehlneek's collections exemplify new trends in the exporting of guhua abroad, in the developments of innovative marketing, and in the fostering of foreign appreciation of guhua.
     Strehlneek's first collection was privately sold in Shanghai in 1913 to Klas Fåhraeus — a Swedish collector — and then resold in Stockholm after Fåhraeus's death in 1926, in the city's gallery auction of Chinese art. In addition to participating in the 1914 China art exhibition patronized by the Swedish Crown Prince, and another exhibition of Chinese art in Stockholm University in 1918, the auction helped to promote Scandinavian interest in China's thousand-year-long pictorial art tradition, as well as to develop an enthusiasm for sinology and collecting guhua.
     The second collection Strehlneek brought with him in 1929 from Shanghai to Tokyo with the intent of using the Nyûsatsu — a closed auction organization of art dealers controlled by the Tokyo Bijutsu Kurabu (Tokyo Art Club) — as a way of expanding his business into a broader world market. Failing to join the exclusive Nyûsatsu, he eventually sold the collection through an exhibition, a marketing strategy that the Japanese had introduced into Shanghai as early as 1908. In Japan, however, this was the first exhibition of a solely private Chinese art and antique collection in that Kurabu to be organized by a non-Japanese collector, recognition of the importance of the Tokyo art market for the overseas trade in guhua.
     In contrast to the conventional store dealership in Shanghai, both the public art auction in Stockholm and the attempt to reach the world through tapping into the closed Tokyo Nyûsatsu were unprecedented in the trading of guhua. Stimulated by the combined efforts of the Eastern and Western collectors and dealers — particularly Strehlneek's contacts — the Chinese art market was no longer localized. Strehlneek's two collections, moreover, fostered Western appreciation of very diverse aesthetics—both the refined brushwork of Chinese literati connoisseurship, as well as genres that connoisseurship had excluded — notably, meiren (paintings of beautiful women), yirong (posthumous portraits), and the Zhe School painting. Among the pioneers who had made guhua known to the West, Strehlneek helped to remap the history of Chinese pictorial art. Furthermore, the appreciation of guhua that he helped to foster in the West in turn gave confidence to Shanghai guohua (Chinese national-style painting) artists in their own tradition when faced with increasing Westernization.
     Thus, Strehlneek made significant, if up to now little acknowledged, contributions to the promotion of guhua into the world's changing cultural spaces.