Displaying items by tag: Chinese

The Smithsonian’s museums of Asian art in Washington, DC, are due to release their entire collections online on January 1, 2015. More than 40,000 works, from ancient Chinese jades to 13th-century Syrian metalwork and 19th-century Korans, will be accessible through high-resolution images without copyright restrictions for non-commercial use. The vast majority—nearly 35,000 objects—have never been seen by the public.

The Freer Gallery of Art and the Arthur M. Sackler Gallery are the first Smithsonian museums and the only Asian art museums to complete the labor-intensive process of digitizing and releasing their entire collections online.

The Croydon Council, a local authority in south London, will sell 24 antique Chinese ceramic vases, bowls and bottles to benefit the redevelopment of Fairfield Halls, a 50-year-old arts center in the area. Local businessman Raymond Riesco gifted the valuable objects to the Council in 1959 as part of a 230-piece collection of artifacts that included Ming dynasty bowls. The 206 objects retained by the Council will remain on view for the public.

The decision to break up the collection has drawn criticism from the museum sector. David Anderson, president of the Museum Association, told the BBC, “Croydon’s decision to sell valuable Chinese ceramics threatens not just its own reputation, but that of the museum sector as a whole. It would undermine the widespread public trust in museums and I strongly urge them to reconsider.”

Arts Council England has also voiced opposition to the sale and penned a letter to the Croydon Council earlier this month warning them that their decision was not in line with English museum standards.

An ornately decorated 18^th century Chinese porcelain vase sold for a record-setting $83 million in London on November 11, 2010. The vase, which was made for the Qianlong Emperor, soared past its presale estimate and became the highest-selling Asian work of art ever offered at auction. However, the original buyer failed to pay for the vase and the piece is now being sold for less than half its record-setting price.  

The vase’s owners, Tony Johnson, a retired lawyer, and his mother, Gene, have held on to the work for over two years after the original sale without seeing a profit. Johnson and his mother recently found another buyer for the vase, which will sell for an undisclosed amount believed to be between $32.1 million and $40.2 million. The London-based auction house Bonhams helped facilitate the sale.

The recent price tag is much more sensible for the Qing-dynasty vase, which features a reticulated body painted in the famille rose palette. The sale of Chinese art and antiquities peaked in 2010, leading to a number of major sales that were not always realized. The demand for Chinese works of art has since leveled off.

The Centre Pompidou in Paris sent a number of French masterpieces to Shanghai’s Power Station of Art for the exhibition Electric Fields: Surrealism and Beyond – La Collection du Centre Pompidou, which opened on December 16. The show marks the first collaboration between the Pompidou, a leading museum of modern and contemporary art, and a Chinese institution.

The exhibition, which is part of the Shanghai Biennale, features approximately 100 works from the Pompidou’s collection including works by Rene Magritte (1898-1967), Andreas Gursky (b. 1955), Marcel Duchamp (1887-1968), and Ed Ruscha (b. 1937). The show is divided into six categories that explore various Surrealist themes and includes paintings, sculpture, video and manuscripts.

The show’s title is a combination of two influences – the name of the venue, a former electric power station, and Andre Breton (1896-1966) and Philippe Soupault’s (1897-1990) seminal piece of Surrealist literature, The Magnetic Fields (1919). The exhibition runs through March 15, 2013 in Shanghai.

Sotheby’s hosted a number of sales in Hong Kong this past week. On October 7^th, the Modern and Contemporary Southeast Asian paintings sale achieved $15.5 million, soaring past the pre-sale estimate of $5.8 million. The sale achieved the highest auction total for this category and the painting Fortune and Longevity by Lee Man Fong, an Indonesian modern master, set a record for any Southeast Asian painting when it sold for $4.4 million. The final price for the painting was almost three times the pre-sale estimate.

The Contemporary Asian Art sale totaled $15.1 million and Tiananmen No. 1 by Chinese symbolist and surrealist painter, Zhang Xiaogang, was the top lot at $2.69 million. Liu Wei’s Revolutionary Family Series – Invitation to Dinner was the second highest sale at $2.24 million, a world record price at auction for the Beijing-based artist who works in various mediums including video, installation, drawings, sculpture, and painting.

The 20^th Century Chinese Art sale brought in $24.6 million and sold 90% by lot. Works from Europe, the United States, and around Asian sold well and many were above their pre-sale estimates. The top lot was Potted Chrysanthemums by the Chinese modern art pioneer, Sanyu, which sold for $3.99 million.

The following day, the Fine Chinese Paintings sale totaled $53.2 million, the highest of the four art auctions. Offering many works from private collections, the total sale was more than double the pre-sale estimate and sold 97.2% by lot. The two top lots at the auction, Zhang Daqian’s Swiss Peaks; Calligraphy in Xingshu and Fu Baoshi’s Lady at the Pavillion, both sold for $2,974,278.

Last year China beat out the United States as the world’s largest art and antiques market and the autumn sales reflect that power swap. There was a bit of controversy when a 60-year-old Taiwanese Buddhist sister demanded that a $1.65 million sale be halted at the Fine Chinese Paintings auction. Sotheby’s canceled the sale of a painting by Zhang Daqian after Lu Chieh-chien requested a court hearing to prevent bidding on Riding in the Autumn Countryside (1950) which she claims was the property of her family and had been consigned without consent.

Fake Cultural Development Ltd., the design firm of dissident Chinese artist, Ai Wei Wei, will have its business license revoked by Chinese authorities. It is rumored that the district commercial affairs department will pull the license on the grounds that the company failed to re-register. The 55-year-old artist is a designer at the firm while his wife serves as the legal representative.

Ai Wei Wei has been under fire by the Chinese government since officials slammed him with a $2.4 million (15m yuan) tax evasion fine in 2011. His subsequent appeal was shut down in July and a Beijing court rejected his challenge to that decision last week. Ai claims that the firm was unable to properly renew their license because officials had confiscated the documents necessary to re-register during the tax evasion investigation.

Mr. Ai, China’s most famous contemporary artist, promises that the license fiasco will not affect his art. A critic of Communist Party rule, Ai Wei Wei caught the media’s attention when he was detained without explanation for nearly three months in 2011. Upon his release he was hit with the tax evasion claim and fine. Ai Wei Wei says an application has been submitted for a public hearing in regards to the revoked license.

Christie’s International set a record of HK$3.65 billion ($470 million) for a series of Hong Kong auctions last night as Chinese bidders battled for items from their heritage. The figure would have been higher had an 18th- century Chinese vase valued at HK$200 million sold.

The six-day event was estimated to raise HK$2.4 billion from the sale of fine wines, gems, watches, Chinese ceramics, classical paintings and Asian contemporary art. The figure beat the HK$3.49 billion at Sotheby’s (BID) in April -- where some lots achieved prices there were multiples of estimates and others failed to sell -- and Christie’s equivalent sale last year, which made HK$2.29 billion.

“A lot of coal miners and listed company owners and financiers have built wealth and are comfortable spending it on art,” Qian Weipeng, a Shanghai-based dealer, said in an interview at the sale.

Chinese bidding was more intense than ever, especially for porcelain, said dealers. The Chinese antiques trade has an annual value of more than $10 billion. The country overtook the U.S. as the biggest auction market for fine art last year, research company Artprice said.

More than 1 million millionaires live in China, up from 190,000 six years earlier, their ranks swollen last year by economic growth, savings and a strengthening currency, according to a Boston Consulting Group survey. That puts China in third place for millionaire households, behind the 5.22 million in the U.S. and Japan’s 1.53 million.

Still, China’s wealth was not enough to push prices high enough for the Qianlong vase, the most anticipated and expensive lot of the entire sale.

Pierced Decoration
The 15 inch (38.1 cm) vase is lantern-shaped, with scrolling hibiscus flowers on a yellow background. The inner vase serves as the pivot around which the outside vase revolves, allowing different interior scenes to be viewed through four pierced circular panels.

It has the same pierced decoration as the 18th-century Imperial vase that was bid to 51.6 million pounds ($83.2 million) -- the highest ever for a Chinese artwork -- at Bainbridges, west London, last November.

Bainbridges said in February that it hadn’t received payment. It has since refused to comment. Mindful of such reports, Christie’s introduced for the first time the requirement that bidders pay a deposit of HK$1 million on any items valued at HK$8 million or more.

“It was a very pushy estimate,” Richard Marchant, a London-based dealer, said of the Christie’s vase. While he didn’t bid on the vase, Marchant bought three other pieces.