Asian Art

This Japanese bronze okimono of turtles – symbolic of longevity and good luck – belonged to the empress Shōken (1849-1914), the consort of the emperor Meiji who ruled Japan from 1868-1912.

The collection of Japanese and Chinese works of art at Eaton Neston near Towcester was formed largely by Thomas George Fermor-Hesketh (1849-1924).

With the spread of religion and the development of the Silk Road during the Han Dynasty (206BC-220AD), Chinese works of art began to develop widely in terms of geography and form.

The market for Asian art shifts from season to season, with the supply of blue-chip wares a constant issue. Here we look at current trends, including the emergence of a more selective buyer, and predict the fortunes of the market’s core collecting areas.

The 'Asian Art in London' event celebrates its 20th anniversary on November 2-11.

The Qianlong period (1736-95) porcelain plate made for export c.1740-60 is painted in famille rose enamels and en grisaille with a half-length portrait of St Simon.

Some of the very first pieces of Chinese porcelain to arrive in Elizabethan Britain were mounted in silver-gilt to proclaim their luxury status.

The Asian Art in London initiative will mark its 20th anniversary by creating a series of events including an exhibition at The Design Centre at Chelsea Harbour in London.

The personal seals used by the Qianlong Emperor, a known connoisseur and patron of the arts, are among the most highly prized Chinese artefacts in today’s market.

Christie’s seven sales dominated the New York Asian art series. With a couple of sales still to go across the weekend, the firm’s running total was close to $35m, more than twice the aggregate of its competitors.

The slow, but observable, return of competition for fine Japanese works of art was evident at Hannam’s (20% buyer’s premium) of Selborne on August 23 in the form of this large Meiji ivory scholar’s table screen, below.

Cristina Ortega is a specialist in Chinese and Japanese ceramics with a gallery in the rue de Beaune. Now taking part in her eighth Parcours de la Céramique, she remains very enthusiastic about the possibilities…

The Chinese auction market is attempting to tackle non-payments with a series of initiatives debated at the Chinese Antiques and Artwork Auction International Forum last week.

Large-scale paintings of intimate domestic scenes are unusual in Chinese art. The Chinese export reverse-painted glass painting of a young mother nursing her infant son offered at Northeast Auctions in Portsmouth, New Hampshire, earlier this month is thought to be one of only a handful of full-size versions painted of this once popular image.

Provincial sales throughout the summer were enlivened by big-money Chinese material but a more concentrated look at the market was afforded by the dedicated sale at Roseberys (20% buyer’s premium) on June 27.

A Song dynasty brush washer, one of the few examples of Ru guanyao court ware still in private hands, will be offered by Sotheby’s Hong Kong with an estimate in excess of HK$100m on October 3.

Catching the eye at the Oriental Sale at Cheffins (22.5% buyer’s premium) in Cambridge on August 10 were the two highly collectable 4¾in (12cm) tall gourd cricket cages shown here.

Made in various materials across the centuries, brush pots used by Chinese scholars are steady favourites at UK auctions and the blue and white porcelain example shown here was no exception when offered at Thomas Watson’s (17.5% buyer’s premium) sale at Darlington on June 20.