From November 28, 1935 to March 7, 1936, the National Palace Museum Peking unprecedentedly loaned 735 pieces for Chinese art exhibitions held in London, in addition to loans from the Central Academy, Peking Library, Henan and Anhui Provincial Museums, Nearly 1,000 pieces, accounting for 1/3 of the total exhibits, were escorted by the British HMS Suffolk, which created the strongest shock in Western society. It is an epic exhibition of Chinese Art in the west that was unparalleled in history. More than 240 museums, institutions, scholars, collectors and antique dealers from all over the world participated; the number of visitors reached 401,768: 108,914 catalogs, 3,486 additional catalogs, and 2,196 exhibition brochures was sold; In the name of art, across national borders and prejudice, this is the most important exhibition for Chinese Art ever.
Unsurpassed Brilliance:1935 International Exhibition of Chinese Art
Royal academy of Arts
▲ 1935年伦敦中国艺术展览海报 / 1935 London Chinese Art Exhibition Poster
▲ 英国皇家艺术学院，中英双方工作人员合影 / Royal Academy of Arts, Group photo of Chinese and British staffs.
伦敦国际中国艺术展览International Exhibition of Chinese Art
Burlington House, Royal Academy of Arts, LONDON 1935-6
▲ 英国皇家艺术学院伯林顿府，Burlington House，Royal Acedemy of Arts
"The Chinese art exhibition held in the Burlington House of the Royal College of Art from 1935 to 1936 is an epic exhibition that is unsurpassed to date. Nearly a third of the exhibits come from the collection provided by the Chinese side, which is a symbol of friendly exchanges between China and Britain. It is also a "manifesto" of Chinese civilization and has caused a strong sensation in the Western world."
In 1935, in order to celebrate the 25th anniversary of the succession of King George V of the United Kingdom, the British side sent an invitation of Chinese Art Exhibition in London to China with the purpose of maintaining good relations between China and Britain and promoting the international appreciation of Chinese art.
"The National Government accepted the British invitation, and Cai Yuanpei, the chairman of the board of directors of the National Palace Museum, convened a council meeting and was responsible for the exhibition selection and discussion of national treasure security issues."
Cai Yuanpei, President of Peking University from 1916 to 1927; concurrently President of Sino-French University from 1920 to 1930; Dean of the Academia Sinica from 1928 to 1940. During the 1935 exhibition, he served as the board of directors of the National Palace Museum Director.
"The concept of the exhibition was originally initiated by Sir Sir Percial David, British Royal Academy. The Royal Academy of Arts and King Gustav VI of Sweden provided the venue and academic support. The founder of the United Ceramic Society Eumorfopoulos, the director of the British Museum RL The three core members of Hobson, collector Oscar Raphael are all working together ... "
"After accepting the invitation, the National Government unanimously decided that the Chinese and British heads of state will serve as supervisors, and the executive heads of the two countries will serve as honorary presidents. The specifications of the exhibition have been promoted to the level of important cultural exchanges between countries ..."
▲ 1935年伦敦中国艺术展，拆箱过程 / 自左至右：庄尚严、特派员郑天赐、大维德爵士、陈维诚参事、英海关人员、唐惜芬、傅振伦。
London Chinese Art Exhibition, Unboxing Process / From left to right: Zhuang Shangyan, Special Agent Zheng Tianci, Sir Percival David, Counselor Chen Weicheng, British Customs officers, Tang Xifen, Fu Zhenlun.
Sir Percival David (first from left) and Karl Kemp (middle) and King of Sweden (third from right) exhibit at Burlington (1935), Wuding Fang, Anyang, Shang Dynasty, now in the Genjin Art Museum
展览在英国伦敦迅速地取得了空前的成功，造访的人数高达401768人，学生和机构享受门票折扣价。展览一共售出108914本图录，3486本附加图册，2196个展览手册以及336本Royal Society Arts Journal。全世界超过240个来自博物馆、机构、学者、藏家和古董商参与；每4位访客就有1位购买了相关图录。
"The British Navy cruiser Suffolk is responsible for escorting 93 containers of Chinese exhibited cultural relics. Before and after the London exhibition, a public preview exhibition and a return exhibition were held in Shanghai and Nanjing, respectively, in order to convince the people and print exhibition albums ... "
"Taking the power of both countries, in the name of art, across national borders and prejudices, the 1935 London Chinese Art Exhibition was gorgeously born in this context, and the positive energy brought by the exhibition will soon spread far and wide at home and abroad ..."
The exhibition quickly achieved unprecedented success in London, UK, with 401,768 visitors and discounted ticket prices for students and institutions. A total of 108,914 catalogs, 3,486 additional albums, 2,196 exhibition brochures, and 336 Royal Society Arts Journal were sold. More than 240 museums, institutions, scholars, collectors and antique dealers from around the world participated; 1 out of every 4 visitors purchased related catalogs.
Participated in the London International Exhibition of Chinese Art, Chinese-made blue satin bronzing book, fine print by Shanghai Commercial Press. This is the Forbidden City and the first large-scale overseas exhibition of Chinese cultural relics.
The National Government established the “Preparatory Committee for the International Exhibition of Chinese Art in London”, with the Minister of Education Wang Shijie as the chairman. The 10 members include Ma Heng, President of the Palace Museum, Chu Minyi, Secretary-General of the Executive Yuan, Zhang Daofan, Deputy Secretary of the Ministry of Transport, and Government Affairs of the Ministry of Railways. Deputy Minister Zeng Zhongming, and Deputy Minister of Internal Affairs Tao Luqian.
"The Commission set up an office in Shanghai at the Bank of China's former Shanghai Bund (23 on the Bund) and leased three warehouses of Bank of China as temporary exhibit cultural repositories. The Commission carefully selected the cultural relics from the Shanghai South Palace Museum. 735 exhibits to be exhibited ... "
▲ Old Shanghai, Old Bund
The cultural relics of the Palace Museum were finally selected, including 60 bronzes, 352 porcelains, 170 paintings and calligraphy, 65 jadewares, 16 cloisonne blues, 5 red lacquer wares, 20 folding fans, 16 study rooms, and 3 furniture. 77% of the total exhibits, 1/3 of the total exhibits of the London Exhibition ...
"Including the bronze inscription Mao Gongding with the most inscriptions, Wang Xizhi's" Fast Snow Times "and Song Huizong's" Peony Poems ", etc."
→ 铭文最多的青铜器 ：毛公鼎 《毛公鼎》腹内铸有32行、共500字铭文，是西周晚期一篇完整的册命书。文中提到周宣王在位初期，想要振兴朝政，遂命叔父毛公瘖（有一说是毛公歆）处理国家大小事务，又命毛公一族担任禁卫军，保卫王家，并赐酒食、舆服、兵器。毛公感念周王，于是铸鼎纪事，由子孙永宝永享。（摘录自：台北故宫博物院）
Bronze with the most inscriptions: Mao Gongding
The 32-line, 500-word inscription in "Mao Gongding" is a complete book of life in the late Western Zhou Dynasty. The article mentioned that in the early days of the reign of King Xuan Xuan, he wanted to revitalize the dynasty, and ordered his uncle Mao Gongyi (one is Mao Gongyi) to handle the affairs of the country. Public service, weapons. Mao Gong missed the King Zhou, so he made the Chronicle, enjoyed by his descendants Yongbao forever. (Excerpt from: Taipei Palace Museum)
→ 二王神品 ：王羲之 快雪時晴帖
王羲之，快雪时晴帖，唐摹本，现藏于台北故宫博物院 / 释文：羲之顿首。快雪时晴。佳想安善。未果为结。力不次。王羲之顿首。山阴张侯。
Wang Jizhi, Kuai Xueshiqing Post, Tang Jiben, now hidden in the Palace Museum in Taipei / Explanation: The head of Jiuzhi. It's sunny when it snows. Jia wants to be good. Unsuccessful results. Powerless. Wang Xizhi abruptly bowed. Shanyin Zhanghou.
Wang Xizhi (approximately 303-361), ancestral family of Shandong, came from a clan family, and later crossed the border with his father in the late Western Jin Dynasty. He served as a General of the Right Army, the history of Hueiji, and left in the Eastern Jin Dynasty (345-356). tour. Passionate about poetry, music and calligraphy. His learning history is from ancient times to ancient times, he turned to many teachers, gained extensive resources, and especially studied physical posture. He blended the different styles of Qin Han and Han into the real grass and formed the best posture. People in the Tang Dynasty praised him for "combining all the laws and making a family and becoming the master of all ages."
This is a short script of a regular script with the content of greetings to friends after heavy snowfall. Emperor Qianlong cherished this trace, nicknamed it "the world is unparalleled, ancient and modern are rare." In the eleventh year of Qianlong, he combined this trace with Wang Xianzhi's "Mid-Autumn Festival Post" and Wang Xi's "Bo Yuan Post" collectively called "Three Greeks", and the treasure was stored in "Three Greek Churches". This post is generally considered to be a fine copy of the Tang Dynasty. (Excerpt from: Taipei Palace Museum)
→ 风流天子 ：宋徽宗 牡丹诗帖
Zhao Ji (1082-1135) of the Huizong Emperor of the Song Dynasty, a Northern Song Dynasty painter. God Zongzi, Zhezong was named Duanwang. Before he took office, he was good at researching Dan Qing and Tu Shi She Yu. Contact Wang Zheng, Zhao Lingzhen, Huang Tingjian and Wu Yuanyu. During his reign (1100-1125), the poor were extravagant.
However, some of the works are masters in the painting academy. After the painting, the words "Tianshui" and "Xuanhe", "Zhenghe" or seals of worms and fishes are used, and the book "One in the World" is often used. Heirloom works include the "Hibiscus Caragana Picture" axis, which is now in the Palace Museum of Beijing; "Liutang Luyan Picture", Tibet Museum of Shanghai; "Zhang Zhangxuan's Lady Touring Spring Pictures", Tibet Liaoning Provincial Museum. (Excerpt from: Taipei Palace Museum)
Chinese preliminary preparation
the "all star" elite members of China
The Preparatory Committee for the London Art Exhibition was carefully selected and 735 pieces of cultural relics were chosen from the South of the Forbidden City, accounting for 77% of the total loaned by China including items from Anhui Provincial Library and other institutions.
▲ 傅振伦护照，1935年伦敦中欧艺术展览助理干事 / Fu Zhenlun Passport, Assistant Officer, Central European Art Exhibition, London, 1935
According to the staff of the Palace Museum, Fu Zhenlun, assistant director of the London Art Exhibition, recalled that many scholars and scholars opposed the decision to participate in the London Art Exhibition.
"There are two reasons: First, because of the long distance across the ocean, and regardless of the risk of shipwreck or theft, London is foggy and wet, which is also very unfavorable to cultural relics. Second, the outflows of cultural relics from China to overseas was a norm at that time, some were worried that the government were to exchange cultural relics for arms to resist Japan ... "
Xu Beihong expressed his opinion on the London exhibition in the declaration, pointing out that such a large-scale cultural relic went abroad without insurance, and ironically that it was really a "genius creation", and pointed out that the commissioners and non-professionals selected by the British came to Shanghai. The tone was filled with indignation, and Xu Beihong's vocalization promoted the progress of the preparatory work to a certain extent. In the following days, insurance and expert issues were resolved.
「Shen Newspaper, on April 6, 1935, was a report on the preview of the Art Exhibition in London. The application continued reporting, and it was reported almost every day. It is a very serious and rare historical record.」
In this regard, the first measure of the National Government was publicity of exhibitions. Before the cultural relics go abroad, they will be exhibited at the Bank of China warehouse in the Bund. After returning home from the London exhibition, the cultural relics were also exhibited in Nanjing to show the return of Zhao to Zhao.
"On April 8, 1935, the Shanghai International Exhibition of Chinese Art International Exhibition in London was officially unveiled to the public at the German Federation on the Bund 23. This is the first time that the national treasures in the collection have been exhibited in Shanghai since the establishment of the Palace Museum ..."
"On the morning of April 7, Wang Jingwei, Sun Ke, Chen Guofu, Yu Youren, Dai Jitao, Kong Xiangxi, Cai Yuanpei, Wu Tiecheng and other key party and state officials visited the preview; in the afternoon, Gu Weijun and his wife, Wang Xiaoyi, Wu Xingya, Du Yuesheng, Yu Qiaqing, Wang Yiting, Special event by celebrity tycoons such as Zhang Xiaolin and foreign consuls and journalists in Shanghai ... "
The Italian ambassador Roya Gino, the Japanese ambassador Jimin, the Czech ambassador Fitzer, Sweden's ambassador Lin Kuisi, consuls and journalists from various countries in Shanghai all attended the scene. Since less than 400 invitations were issued in total, many reporters who did not invite could only hover at the door.
最初的预展 - 门庭若市
Bund 23, Shanghai 1935.4.8*
On April 8, there was no grand opening ceremony, and the preview officially opened in tranquility. The yellow-green banner "London Chinese Art International Exhibition Shanghai Pre-Exhibition" hung above the main entrance of the German Federation on the Bund 23 is particularly striking ... "
Stepping into the gate, the first exhibition room on the first floor exhibited paintings, folding fans, and embroidery of the Ming and Qing Dynasties. Along the ladder, there are 5 exhibition areas on the second floor. The second is: Tang, Five Dynasties, Song, and Yuan calligraphy and painting displayed in the second showroom, the bronzes displayed in the third showroom, and the fourth and fifth showrooms Rare books, jade, cloisonne and tick red on display in the Porcelain and the sixth gallery.
Among the more than a thousand exhibits, Xinshou selected one of them, which is a rare treasure. Among them are the father Xin Xun, the 饕餮 簋 宋, Song Dingyao white-painted wicker basket basket, Yuan Linchuan kiln white hollow dragon and Phoenix pen holder, Tang Luozhao's "Luoyang Tower Map", Song Mizheng's "Spring Mountain Pine Song Map", Song Huizong's "Pond Late Autumn Map Volume", Yuan Zhao Mengfu's "Zhongjiang Overlay Map Volume", Ming and Shen Zhou's "Lushan High Map", Tang Yin "Songsong Sound of Mountain Road" and the music book in the Southern Song Dynasty, the "engraved five-tone polyphonic polyphony" in the gold engraved version, and "Mencius Festival" in the official Hongwu period.
▲ 沈周，庐山高图，台北故宫博物院藏 ；唐寅，山路松声图，台北故宫博物院藏 / Shen Zhou, Lushan Height, Collection of Taipei Palace Museum; Tang Yin, the Sound of Tree and Mountain Ways, Collection of Taipei Palace Museum “展览的入场券售价为2元，而当时在上海最高档的电影院，如卡尔登、兰心等，看一场电影才1元，普通影院的票价不过四五角，但出乎主办者意料的是，2元一张的门票却十分畅销…”
申报，详细解释了为什么票价两元定价不高：1. 马戏团有的表演要三元；2.英国伦敦的票价折合人民币二十元左右；3. 展览的筹备花费巨大，不下六、七万元，性价比可谓相当之高。人们为何如此舍得花费高价看这样一场展览？《申报》又继续补充：“往昔在故宫陈列展览时，每人门票须售一元，而复须三日始能走遍故宫各殿，以窥全豹。今则撷其精英，又综合中央研究院、北平图书馆、河南博物院、安徽省立图书馆送会陈列之古物，而得于一日之间，全部浏览之，则不论在时间及金钱上，均经济多多矣。”
Tickets for the exhibition were priced at 2 yuan. At the time, the most expensive movie theaters in Shanghai, such as Carlton and Lanxin, were only 1 yuan for a movie. What was unexpected was that tickets for 2 yuan were very popular ... "
The newspaper explained in detail why the fare of two yuan is not high: 1. Some circus performances cost three yuan; 2. The fare in London, UK is equivalent to about 20 yuan; 3. The preparation for the exhibition is huge 60,000 to 70,000 yuan, the price is quite high
Why are people so willing to spend such a high price on such an exhibition? "Shenzhen" continued to add: "In the past, when the exhibition was displayed in the Forbidden City, each person had to sell one yuan of tickets, and it took three days to go through the palace halls to get a glimpse of the panther. Today, the elites are collected and the Central Research Institute , Peiping Library, Henan Museum, and Anhui Provincial Library present the antiquities on display at the fair, and you can browse them all in one day, regardless of time and money.
On the issue of security of the exhibition, the organizers also exerted their brains. The Shanghai Municipal Government and the Ministry of Industry Bureau set up iron fences and barbed wire around the venue to arrange police detectives to patrol day and night. There is a wooden fence in front of each painting and calligraphy exhibition to avoid human damage. At the same time, a ribbon is attached to the painting axis to attach it to the wall to prevent the original work from being affected by the painting axis. The other cabinets where the exhibits are placed are all coated with cromi.
Some audiences stay the whole day at the venue, eating therefore became a problem. The committee soon came up with a plan to allow visitors to store their food at locker, It can later be enjoyed at the reception room on the first floor at meal time. The exhibition also specially prepared free tea for such visitors, which can be considered as thoughtful.
"The preview really set off a wave of cultural relics in Shanghai. Although the weather continued to haze for the next few days, this did not diminish the enthusiasm of the citizens to visit. The front of the German General Assembly was still bustling, the audience was endless, and even the organizers I have to limit the number of daily visitors to 3,000 from April 14th, and stop selling tickets when they are full to avoid overcrowding ... "
It is for these rare treasures that many people think that it is not enough to visit once, and they go there several days in a row. The famous book artist Ye Gongchuo is one of them; some people buy tickets after the invitation. Some people revisit the exhibition many times, there were also visitors from Fujian and Hubei who travels to admire the treasure of the magnificent Chinese relics.
During the preview period, many issues gradually became clear, including the confirmation of the use of warships. This is not just a matter of British consent. China has also considered the space and storage of warships, and then decided to wait for the warships to arrive in Shanghai, and then the preparatory committee will send someone to check whether the cultural relics are suitable for transportation before making a final decision.
Shanghai's No. 1 newspaper, Shenbao, started to report on the preparations for the exhibition continuously before the pre-opening. After the pre-show was unveiled, the "Report" also provided detailed reports on the daily status of the exhibition. It not only introduced the participating art treasures in batches, included people's views from all walks of life, but also divided and analyzed the development and evolution of Chinese calligraphy and painting art, helping readers Better understand the value and connotation of exhibits.
"Reports on the" Preliminaries "have been extended for more than one month before and after without interruption. It is rare to see such an exhibition for such a long time and large-scale in the history of Shanghai News ..."
此次国宝预展开幕后，上海各大、中学校和社会团体、机构纷纷要求前往参观。据不完全统计，短短2周时间，预展就接待了交通大学、暨南大学、同济大学、上海医学院、上海中学、商务印书馆、湖社等学校、团体不下百个，盛况可谓空前。 "The success of the Shanghai Preview is on the other hand dependent on the meticulous, professional and serious attitude of the staff from both countries. British Special Commissioner Sir Percival David, Eumorfopoulos, Hobson, Percival Yetts, including Percy and other professionals have visited China multiple times for discussions, and it's a big contribution that should not be undermined. "
After the national treasure's pre-opening, major and middle schools in Shanghai, as well as social groups and institutions, have asked to visit. According to statistics, in just 2 weeks, the pre-show hosted more than 100 schools and groups such as Jiaotong University, Jinan University, Tongji University, Shanghai Medical College, Shanghai Middle School, Commercial Press, Hushe, etc., and the event was unprecedented.
"As the exhibition progresses, more and more celebrities came to visit, including Xu Beihong, Hu Shi, and American educator Meng Lu who visited Shanghai. Many experts in the antique industry also shown their interests of participation by giving estimate to exhibits. "
It is believed that even the most common exhibits have a value of not less than 20,000 yuan, and items worth more than one million are literally countless. According to plan, the "London Chinese Art International Exhibition Shanghai Preview" was originally scheduled to close on April 30, but the enthusiasm of all circles in Shanghai for the National Palace National Treasure remained undiminished, and they unanimously requested that the exhibition be postponed. In view of this, the organizer has decided to extend the extension by 5 days.
Many art enthusiasts have seized the last chance. Only from 9 am to 10:30 am on April 30, the exhibition sold more than 1,000 tickets, which almost accounted for half of the limited number of visitors on the day.
May 5th is the last day of the exhibition extension. This day was Sunday, and people rushed to the Bund, the front of the German General Assembly was filled with people. Until sunset, many people were still in the venue, reluctant to leave. In this way of passion, the National Palace Treasures Exhibition that caused a sensation on Shanghai Bund came to an end in a unprecedented high note.
"The London China International Art Fair Shanghai Preview is a major event in the history of Shanghai Art Exhibition. Only 28 days of exhibition, the total number of visitors has reached 50,000 to 60,000. If the organizers had not specifically limited the number of visitors, this number could easily exceed 100,000... "
Arrive in London
Attendance by all Chinese and Western elites
The process of unboxing, the picture shows the Shang Dynasty Wuding bronze square hé lent by Kazuhiro Nezu. The Japanese emperor also lent a piece; the British royal family lent a bronze ware given to Queen Victoria by the Qing Emperor in 1887.
an Epic Exhibition
▲ 展览入口，正对着就是卢芹斋借展的隋代白石大佛，现藏大英博物馆 / The entrance to the exhibition is directly opposite the Sui Dynasty White Stone Buddha borrowed by Lu Qinzhai, now in the British Museum
这次展览多达3080个展品，分布在Burlington House的16个不同的展厅。很值得注意的是这个展览的Floor Plan，整个布局采用了年代的次序：从商代、春秋战国、唐、宋、元，明，清代… 对不同年代有不同的侧重。
There are up to 3,080 exhibits in 16 different exhibition halls in Burlington House. It is worth noting that the floor plan of this exhibition adopts the order of the times: from the Shang Dynasty, the Spring and Autumn Period and the Warring States Period, Tang, Song, Yuan, Ming, and Qing dynasties ... with different emphasis on different eras.
"The sensitive and extraordinary taste of curating the London exhibition can be fully reflected in the arrangement of the exhibition halls. The sculptures of the Shang Dynasty, the Spring and Autumn and the Warring States Period, the Northern Wei Dynasty and the Tang Dynasty each occupied one exhibition hall, and the Song Dynasty partially occupied a whole four exhibition halls. The proportion and position of art in the hearts of first-class collectors, scholars, and pioneers at that time were clear at a glance. "
青铜器展品 / Bronze Exhibits
▲ 乳钉纹青铜簋，西周早中期，1935年伦敦艺术展编号214，Lent by Madame Wannieck Paris，从1930年开始至2013年共有约12次著录，随后进入玫茵堂珍藏，铭文“X父辛”。/ Western Zhou, ex-Meiyintang Collection Bronze GUI.
▲ 根津美术馆，商代武定，左、中、右方盉；双羊尊，ex-eumorfopoulos，大英博物馆藏； 商後期，亞醜諸女司方尊，台北故宫博物院藏； 西周中期，服方尊，台北故宫博物院藏 / 腹足方而口圆，颈上饰仰叶夔纹及象纹，腹饰兽面纹及夔纹，足饰鸟纹，腹前后各有三棱。
Genjin Art Museum, Wuding, Shang Dynasty, left, middle, and right; double sheep statues, ex-eumorfopoulos, British Museum collection; late Shang dynasty, Asian and Ugly girls Si Fangzun, Taipei Palace Museum collection; mid Western Zhou Dynasty, service Zun, Collection of the Taipei Palace Museum / The belly and feet are square and round, the neck is adorned with yangye patterns and elephant patterns, the belly is decorated with animal patterns and ridge patterns, and the feet are decorated with bird patterns.
▲ 商後期，鉤連乳丁紋羊首罍； 商末周初，亞醜方簋，故宫博物院藏；戰國中期，陳侯午簋，台北故宫博物院藏； 商後期，鴞首獸面紋方罍，台北故宫博物院；戰國中期，嵌孔雀石綠松石犧尊； 戰國早期，鳥首獸尊，台北故宫博物院藏； Ex-Eumorfopoulos 鸮卣
雕塑精选 / Sculpture Exhibits
▲ 大都会博物馆藏；巴黎吉美国立亚洲艺术博物馆藏；大都会博物馆藏；弗里尔博物馆藏；天龙山主佛，唐代，哈佛大学艺术博物馆； 天龙山菩萨，唐代，纳尔逊阿特金斯博物馆藏；天龙山菩萨，唐代，瑞士苏黎世Rietberg Museum藏； 龙门飞天，震旦博物馆藏； 波士顿博物馆藏狮子；宾夕法尼亚大学博物馆藏狮子
陶瓷精选 / Ceramic Exhibits
▲ 大英博物馆，刘庭训墓三彩系列；British Museum, Liu Tingxun's Tomb Tricolor Series, ex-Eumorfopoulos
傅振伦在展厅中看到了上文提起的刘庭训三彩俑，写道：“亚洲厅又有唐庭训（译音，卒开元十六年）墓之三角（彩）釉土俑数事。” 他还谈到乔治·尤摩弗帕勒斯的个人收藏。“猷（尤）氏犹太裔英国籍。雄于资，收藏中国古器物甚多……其展览于此院者，在入门大厅、亚洲厅及绘画室。周代铜器，玉器，唐铜镜，陶瓷于（与）刘庭训（译音）Liu Ting-hsüen（开元十六年卒）墓陶俑，……均可贵。
In the exhibition hall, Fu Zhenlun (the Exhibition Assitant from China) saw the three-color figurine of Liu Tingxun mentioned above, and wrote: "In the Asian hall, there are several things about the Sancai glazed clay figurine of the tomb of Tang Dynasty Tingxun. He also mentioned Personal collection of George Eumorfopoulos. "Jew (You) Jewish-British nationality. He is a man of wealth and has a large collection of Chinese ancient artifacts ... he exhibited here in the entrance hall, Asian hall and painting room. Bronze, jade, and Tang bronze mirrors of the Zhou Dynasty , Ceramics in (and) Liu Ting-hsüen (died in the sixteenth year of the Kaiyuan) tomb pottery figurines ...
▲ 汝窑椭圆洗，大维德基金会藏；汝窑葵口盏托，大维德基金会藏；南宋官窑梅瓶，Ex-Eumorfopoulos，大英博物馆藏；南宋官窑直颈瓶，Ex-Eumorfopoulos，大英博物馆藏；南宋官窑胆式瓶，大维德基金会藏，此瓶为大维德爵士借出藏品中最喜欢的一件，是1935年12月Burlington Magazine的彩页；南宋官窑洗，大维德基金会藏；南宋官窑八卦炉，大维德基金会藏； 北宋早期，定窑牡丹花卉梅瓶，大阪东洋藏，安宅英一旧藏； 宋定窑萱草牡丹纸槌瓶，大维德基金会藏； 南宋龙泉窑鱼耳瓶，Sir Alan Barlow旧藏；南宋龙泉窑折沿洗，大维德基金会藏； 南宋龙泉窑斗笠盏，Sir Alan Barlow旧藏，牛津大学阿什莫林博物馆藏； 耀州窑胆瓶，Ex-Eumorfopoulos，维多利亚阿尔伯特博物馆藏； 耀州窑净瓶，Ex-Pilkington，苏富比2016年548万港币
"The International Exhibition of Chinese Art in London in 1935 was a pinnacle of international cultural exchanges of Chinese art in the 20th century. Its huge scale, participation in politics, culture and elites from all walks of life, its academic tolerance , The degree of attention of academic institutions, collectors and dealers, are in a near-perfect state, bringing an incredible shock to the world ... "
The Chinese Art Exhibition in London is not only a “Provenance” in the true sense, it is also the provenance of provenance. This great exhibition will undoubtedly give the exhibiting utensils the most dazzling halo, and at the same time leave the glorious humanity and legendary experience of the people of both countries.
"Time seems to return to the way back in 1936, the sky is breaking, and the OSS. Ranpura, which has just emerged from the stranded predicament, returns triumphantly with nearly 1,000 national treasures and cultural relics. This is a great journey, a manifesto of ancient Chinese Civilization to the western world... "