Page 22 - 2019 September 12th Christie's New York Chiense Art Masterpieces of Chinese Gold and Silver

visit of the Swedish Crown Prince in 1926 Andersson revealed the discovery of two human teeth, which were subsequently
identifed as the frst fnds of Peking Man. In 1926, Andersson founded the Museum of Far Eastern Antiquities in
Stockholm, to house the Swedish part of the fnds from archaeological excavations in China. Andersson served as the
director of the MFEA until 1939, when he was succeeded by Bernhard Karlgren.

Bernhard Karlgren (1889-1978) was a Swedish sinologist and linguist, and was one of the pioneers of Chinese historical
phonology. Although his original studies were of classical and northern European languages, Karlgren was attracted
to the study of Chinese because of its many dialects, and obtained a grant to study Chinese in St. Petersburg. Karlgren
lived in China from 1910-1912, and on returning to Europe he presented his doctoral thesis on ‘Études sur la phonologie
chinoise” (“Studies on Chinese Phonology”) to the University of Uppsala. Thereafter he taught at the University of
Göteborg, where he was president from 1931 to 1936. From 1939 to 1959 he served as director of the Museum of Far
Eastern Antiquities. He also followed Andersson as editor of the Museum’s publication Bulletin of the Museum of Far
Eastern Antiquities (BMFEA) and continued as editor until 1970. Karlgren himself published a number of articles in the
Bulletin, including a number on early Chinese bronzes. The BMFEA, which continued into the 21st century, published many
important scholarly articles on East Asian art, including a number which related to Carl Kempe’s areas of collection. One
of these was J. Gunnar Andersson’s ‘The Goldsmith of Ancient China’, published in No. 7, 1935, while another was Gustaf
Lindberg’s ‘Hsing yao and Ting yao’, published in No. 25, 1953.

Another Swedish scholar, some of whose work related to Kempe’s areas of interest, was Nils Palmgren (1890-1955).
While still at university Palmgren focussed on Chinese art and his Masters’ thesis was on Chinese ceramics. However, he
obtained archaeological experience not in China but at the ancient Greek city of Asine in the Peloponnese. The subject of
his doctoral thesis was ‘The Kansu Mortuary Urns of Pan Shan and Ma Chang Groups’ based upon the Chinese Neolithic
ceramics excavated by Andersson. When, in 1934, Palmgren undertook a study trip to China he concentrated on Song
dynasty ceramics and this material was later incorporated into the publication with which he is most closely associated
today Sung Sherds, which he published with Walter Steger and Nils Sundius in 1963. Although he also studied Chinese
jades and bronzes, it was his work on Song dynasty ceramics which provides the closest link to Carl Kempe’s collection.
The Swedish scholar who was most closely associated with Carl Kempe was Professor Bo Gyllensvärd (1916-2004), who
acted as his curator and was also the author of the two major catalogues of Kempe’s collection - Chinese Gold & Silver
in the Carl Kempe Collection: A Catalogue by Bo Gyllensvärd, Stockholm, 1953 and Chinese Ceramics in the Carl Kempe
Collection, Stockholm, 1964. Professor Gyllensvärd took T’ang Gold and Silver as the subject of his doctoral thesis for the

在瑞典學者當中，最常與凱波相提並論的是紀侖華教授 年)、尤默夫 (George Eumorfopoulos，1863-1939
(Professor Bo Gyllensvärd，1916-2004年)，他既是凱波的 年)、葛納爵士 (Sir Harry Garner，1891-1977年)
鑑藏顧問，更為後者的珍藏編撰了兩本重要圖錄，即《卡爾‧ 、霍普森 (Robert Lockhart Hobson，1872-1941
凱波珍藏中國金銀器圖錄》(Chinese Gold & Silver in the 年)、拉菲爾 (Oscar Raphael，1874-1941年)、羅
Carl Kempe Collection: A Catalogue by Bo Gyllensvärd) 素 (Charles Russell，1866-1960)、賽維格夫人 (Mrs.
(斯德哥爾摩：1953)，以及《卡爾‧凱波珍藏中國陶瓷》 Walter Sedgwick，1883-1967年)、思禮文 (Charles
(Chinese Ceramics in the Carl Kempe Collection) (斯德 Seligman，1873-1940年) 及葉慈 (W. Perceval
哥爾摩：1964)。紀氏向斯德哥爾摩大學提交的博士論文以唐 Yetts，1878-1957年)，此外尚有瑞士藏家鮑爾 (Alfred
代金銀器為題，其研究依據便是凱波珍藏。他於1945年任職國 Baur，1865-1951年) 及活躍於巴黎的盧芹齋 (1880-1957)
家博物館，1949年擢升為館長，1959年晉升首席館長。1958 等。
年，他以副教授的身份任教於斯德哥爾摩大學。古斯塔夫六世 凱波對中國藝術的愛好始於1920年代，1935-6年期間更與夫
聽取紀氏進言，於1959年倡議將遠東古物博物館的珍藏與國 人聯袂訪華，據說此行合共購入中國藝術品約250件，日後成
家博物館的東亞與東南亞珍藏合併，該批珍藏於1963年遷至船 為了他的核心珍藏。雖然最初吸引他的是五彩清瓷，但自1930
島的皇家軍械庫舊址，紀氏出任館長一職，直至1981年卸任為 年代起，在林伯格的影響之下，他迷上了中國白釉陶瓷，尤以
止。1955至1973年期間，紀侖華兼任古斯塔夫六世的中國藝 唐宋作品為然，但他藏品中年代較晚的精妙白瓷與青瓷同樣可
術鑑藏顧問，國王於1973年辭世後，其珍藏皆移交遠東古物博 觀。他情有獨鍾且收藏甚豐的另一個範疇是中國金銀器，藏品
物館保存。 年代從青銅時期的周代乃至清代皆有涉及。他苦心捃摭的第三
在凱波的中國藝術收藏生涯中，上述名人俱是活躍於瑞典的 大領域是中國玻璃器，此外也有收集羅馬玻璃器，甚至連中國
重要學者與藏家，也是凱波交流探討其藏品的對象。但在以 漆器、琺瑯器、青銅器及其他作品皆有涉及，且無一不精。
英國為首的其他北歐國家，中國藝術的研究與收藏亦盛況空 凱波的各類珍藏佳作雲集，每件作品俱體現了其眼力之高、
前。以英國為例，東方陶瓷學會於1921年成立，與凱波同 其志之誠及有所作為之心。誠如紀侖華在《東方陶瓷學會會
期的著名英國藏家和學者人才濟濟，如巴婁爵士 (Sir Alan 刊》1967-68、1968-69第37期發表的訃聞所言，凱波「兼
Barlow，1881-1968年)、克拉克 (Alfred Clark，1873-1950 具敏銳的直覺與過人的才識。他的抱負並不限於蒐羅個別的佳
年)、大維德爵士 (Sir Percival David，1892-1964年)、 作，而是要按部就班地構建一批珍藏。」
艾芬斯 (Hon. Mountstuart W. Elphinstone，1871-1957 1912年，凱波購入位於埃高松 (斯德哥爾摩以北約四十英哩處)