Page 189 - Christie's Chinese Works of Art March 24 and 25th, 2022 NYC

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
1048
重要私人珍藏
A VERY RARE GE-TYPE MALLET VASE
YONGZHENG SIX-CHARACTER SEAL MARK 清雍正 仿哥釉紙槌瓶 六字篆書款
IN UNDERGLAZE BLUE AND OF THE PERIOD
(1723-1735) 來源:
The vase has a slightly tapering cylindrical body 卡爾·坎普(1884-1967) 博士珍藏
rising to an angled shoulder below a tall cylindrical Céramique Chinoises Provenant de Deux
neck and is covered with a greenish-blue glaze Collections Européennes; 巴黎蘇富比, 2008年
suffused with a black crackle that extends to the 6月12日, 拍品編號97
foot, which is covered with a black wash.
埃斯肯納齊, 倫敦
6Ω in. (16.6 cm.) high
展覽:
Ulricehamn, 「Chinese Ceramic Treasures, A
$400,000-600,000
Selection from Ulricehamn East Asian Museum,
PROVENANCE: including the Carl Kempe Collection」, 2002年
Dr. Carl Kempe (1884-1967) Collection. 出版:
Céramique Chinoises Provenant de Deux
Collections Européennes; Sotheby's Paris, 12 June 俞博, 《Chinese Ceramics in the Carl Kempe
2008, lot 97. Collection》, 斯德哥摩爾, 1964年, 頁75, 編號194
Eskenazi Ltd., London. 《Chinese Ceramic Treasures, A Selection from
Ulricehamn East Asian Museum, including the
EXHIBITED: Carl Kempe Collection》, 烏爾里瑟港, 2002年,
Ulricehamn, Chinese Ceramic Treasures, A
頁406-407, 編號413
Selection from Ulricehamn East Asian Museum,
including the Carl Kempe Collection, 2002.
LITERATURE:
B. Gyllensvärd, Chinese Ceramics in the Carl
Kempe Collection, Stockholm, 1964, p. 75, no. 194.
Carl Kempe, 1912. History and Art Collection / Chinese Ceramic Treasures, A Selection from
Alamy Stock Photo. Ulricehamn East Asian Museum, including the Carl
卡爾‧坎普，1912年 Kempe Collection, Ulricehamn, 2002, pp. 406-407,
no. 413.
(mark)

A Rare Imperial Yongzheng Vase
A rare imperial Yongzheng vase formerly in the Carl Kempe collection
Formerly in the Carl Kempe Collection
By Rosemary Scott
Independent scholar
Visiting ceramics research fellow, Palace Museum, Beijing
This vase was previously owned by one of the great collectors from the In 1930-31 he was one of the private members of the Karlbeck Syndicate,
golden age of Chinese art collection in Europe – Carl Kempe (1884-1967), established by the Swedish civil engineer Orvar Karlbeck (1879-1967) to
whose particular passion was for fine Tang and Song dynasty monochrome purchase Chinese art objects on behalf of a consortium of museums and
wares and the later ceramics inspired by them. It is into this latter category private collectors in Europe – primarily Sweden and Britain. Participants in
that the current Yongzheng mallet vase falls. Born in Stockholm, where he the 1930-31 syndicate, included not only Carl Kempe but also the Museum of
also completed his schooling, Kempe went on to study at Uppsala University. Far Eastern Antiquities, Stockholm; the Röhsska Konstslöjdmuseet (Röhsska
In 1906, after graduating from Uppsala University, Carl Kempe joined the Museum of Design and Applied Arts), Göteborg; and the Hallwyl Collection,
family firm, Mo och Domsjö AB, and in 1917 took over the post of Managing Stockholm. In 1935-6 Carl Kempe and his wife travelled to China, where, it
Director from his father. His commitment to substantial investment in is believed, he purchased some 250 items of Chinese art, which, thereafter,
research and development brought the company to the forefront of the formed the backbone of his collection.
modern pulp and paper manufacturing industry in Sweden. Kempe was also
an active philanthropist and a keen sportsman - in 1912 winning an Olympic In Sweden the Chinese art collectors were led by HRH Crown Prince Gustaf
silver medal in the indoor tennis doubles at the Stockholm Summer Olympics Adolf (1882-1973, from 1950 HM King Gustaf VI Adolf), who was also a
with his partner Gunnar Setterwall. major patron and donor to museums such as the Museum of Far Eastern
Antiquities, Stockholm. The Crown Prince was also on the Committee
In 1953, Carl Kempe noted: ‘... some thirty years ago, I found myself strongly of Honour for the International Exhibition of Chinese Art held at the Royal
attracted by Chinese art.’ ... ‘Somehow or other I found myself steeped in Academy in London in 1935-36. It was possibly at the Crown Prince’s
humble respect and admiration before this art so pure and yet stimulating for suggestion that Carl Kempe loaned twelve items to the International
the imagination in its variety of aspects and forms.’ (see the preface to Chinese Exhibition of Chinese Art. These were primarily glazed ceramics, but included
Gold & Silver in the Carl Kempe Collection: A Catalogue by Bo Gyllensvärd, one example of Song dynasty silver gilt.
Stockholm, 1953). Thus, it appears that Carl Kempe’s interest in Chinese
art began in the early 1920s, and, although initially he was attracted to Qing
dynasty polychrome porcelains, from the 1930s onwards Kempe developed a
particular interest in Chinese white-glazed ceramics – especially those from
the Tang-Song period – and celadon wares, including crackle-glazed vessels.
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