Page 191 - Christie's Chinese Works of Art March 24 and 25th, 2022 NYC

The famous Swedish scholar Professor Bo Gyllensvärd (1916-2004) acted the collection of the National Palace Museum, Taipei (illustrated in Through
as curator of Kempe’s collection and was the author of the two major the Prism of the Past: Antiquarian Trends in Chinese Art of the 16th to 18th
catalogues devoted to it - Chinese Gold & Silver in the Carl Kempe Collection: Century, Taipei, 2003, p. 106, no. II-16 B). A Northern Song white Ding ware
A Catalogue by Bo Gyllensvärd, Stockholm, 1953 and Chinese Ceramics in the vase of this shape from the collection of Sir Percival David is illustrated in
Carl Kempe Collection, Stockholm, 1964. Bo Gyllensvärd was also the curator Song Ceramics – Objects of Admiration, London, 2003, pp. 20-1, no. 1. While
of King Gustaf VI Adolf’s personal collection of Chinese art between 1955 and a Guan ware vase also based on the shape of a beater, but with shorter
1973. In 1912 Kempe bought a former royal palace at Ekolsund, in Enköping neck and slightly lipped mouth rim is illustrated by the National Palace
Municipality about forty miles north of Stockholm, creating a library on the Museum in Catalogue of the Special Exhibition of Sung Dynasty Kuan Ware,
ground floor, where he was able to display his collection of Chinese art. Here Taipei, 1989, p. 66, no. 24, where it is dated to the Southern Song dynasty.
Kempe welcomed scholars and collectors from all over the world, to view and
discuss his remarkable pieces. After his death in 1967 the collection continued Ceramics with glazes copying revered Song dynasty wares were made at
to be displayed at Ekolsund for another 30 years, until 1997, when the Kempe the imperial kilns as early as the 15th century but in the reigns of the three
collection of ceramics, gold and silver were transferred to the Museum of Art great Qing emperors – Kangxi, Yongzheng and Qianlong, imperial interest
and Far Eastern Antiquities in Ulricehamn. Some ten years later the collection in antiquarianism reached new heights and the potters at Jingdezhen were
was sold at auction. Nevertheless, the well-documented pieces which increasingly required to reproduce on porcelain bodies Song-style glazes,
comprised it continue to reflect the knowledge and fine aesthetic judgement which had originally been developed on stonewares. The Yongzheng
of the man who assembled the collection. Emperor in particular is recorded as requiring good copies of Song glazes
to be applied to ceramics made for his court. Fortunately, this facet of
Carl Kempe appears to have had a particular interest in Qing crackle-glazed imperial porcelain production was an area in which the famous ceramicist
celadons inspired by Guan and Ge wares of the Song dynasty. In Professor and director of the imperial kiln Tang Ying (1682–1756) excelled. In his
Bo Gyllensvärd’s 1964 Chinese Ceramics in the Carl Kempe Collection thirty- Taocheng jishi bei ji (Commemorative Stele on Ceramic Production)
six vessels with celadon crackled glaze are attributed to the Qing dynasty, composed in the last year of the Yongzheng reign (1735) Tang Ying listed
however only fourteen of these are attributed to the Yongzheng reign, and some fifty-seven products of the imperial kilns, including almost forty
of those only three, including the current vase, are recorded as bearing different monochrome glazes. It is especially interesting to note that Tang
Yongzheng underglaze blue seal marks – suggesting imperial production. Ying states in Taocheng jishi bei ji that both Guan-type glazes and Ge-
The current vase is one of a small number of mallet-shaped vases with type glazes were copied from ancient wares sent to Jingdezhen from the
similar Song-style crackled glaze and of similar size, bearing Yongzheng six- Imperial palace (see Peter Lam in Shimmering Colours – Monochromes of
character seal marks in underglaze blue, which have survived in international the Yuan to Qing Periods, The Zhuyuetang Collection, Hong Kong, 2005,
collections. The mallet form can be seen in surviving examples of a number p. 44). Clearly, the Yongzheng Emperor was willing to risk sending rare
of highly-valued ceramics from the Song dynasty. These include the famous antiques hundreds of miles in order to ensure successful copying of Song
Ru wares, as exemplified by the Northern Song Ru ware vase preserved in glazes such as that seen on the current vase.

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