Chinese Works of Art

It wasn’t just top pieces of Americana and Old Master paintings that occupied the salerooms in New York last month, there was also a good selection of Chinese Export porcelain on offer. Christie’s were selling the third installment of the Benjamin Edwards III collection of Export Porcelain on January 20 plus an interesting mixed owner selection in their Captains and Kilns ceramics auction on the same day.

Private consignments of Chinese porcelain are increasingly difficult to source and competition is rife between provincial and London rooms. Prices regularly spiral for the best quality works whether they are offered in the provinces or in the capital.

Gone are the days when collectors could afford to ignore anything but the finest quality early 18th century imperial porcelain in mint condition. The burgeoning of interest in this field from Far Eastern collectors has ensured that when such pieces come under the hammer, the prices realised are out of the reach of all but the seriously wealthy.

Dealers and collectors with money in their pockets at the end of Asia week were rewarded with a trip to Christie’s South Kensington (17.5/10% buyer’s premium) on November 14. The room was full for this 478-lot auction, with mainland Chinese and Far Eastern buyers interested in two conservatively estimated, market-fresh, non-European collections of Chinese calligraphy brushes and archaic jades.

THE Chinese-born, French-based artists Zao Wou-Ki and Yan Pei Ming, who both featured among the successes at FIAC Paris, were also in demand at the sale staged by Cornette de St-Cyr (20.33/11.96% buyer’s premium) at Drouot Montaigne on the evening of October 11.

At just over $12m (including premium) US auction house Doyle New York made a significant contribution to the series of Asian Art sales held in Manhattan last week with their September 16 auction of the F. Gordon Morrill collection of Chinese porcelain. They found buyers for 82 per cent of the 115 lots, but far and away the star attraction was this large 141/2in (37cm) high Yuan dynasty blue and white pilgrim flask of c.1345.

NEW York’s Chinese Porcelain Company hold their autumn exhibition Recent Acquisitions, Fall 2003 from October 9 to 25 at their elegant galleries at 475 Park Avenue at 58th Street. Some highlights from the exhibition will be displayed on their stand at the International Art and Antique Dealers Show at Manhattan’s Seventh Regiment Armory from October 17 to 23.

A Massachusetts auction house is being sued for breach of contract and malpractice after a Chinese vase it sold for $23,000 returned to auction six months later at Christie’s Hong Kong where it brought $1.55m.

On September 16, Doyle New York will sell the F. Gordon Morrill collection of Chinese and Chinese Export porcelain. Considered to be one of the last great collections of early blue and white Chinese porcelain still in private hands – the Museum of Fine Arts, Boston has described the Morrill collection as “equal in quality to the superb collection at the Ardebil Shrine in Tehran, Persia” – the archive was assembled during the 1960s and 70s, when many notable collections came onto the market.

The resurgence of interest from Asian buyers in quality transitional blue and white sleeve vases was seen at Sotheby’s (22% buyer’s premium) in Amsterdam, when this finely painted example, right, illustrating boys presenting gifts to a number of scholars, topped the 243-lot Asian sale on May 21.

THERE was a greater concentration of Chinese Export porcelain at Christie’s King Street (19.5/12% buyer’s premium) than at either of the other two houses with a single- owner collection of European-subject Export ware offered in a separate catalogue on June 17 and a private collection of famille verte porcelain in mixed condition that was 99 per cent sold by lot and by value, included in their mixed-owner sale on the same day.

MAYFAIR Orientalist Roger Keverne is offering more than 100 objects in his current Summer Exhibition of Fine and Rare Chinese Works of Art and Ceramics at his gallery at 16 Clifford Street, London W1.

VERY much a rising star on the international Oriental arts scene, London specialist Ben Janssens moves into the West End next month with the opening of his own gallery right in the heart of the capital’s art dealing district.

SLEEPERS among saleroom sections of Oriental ceramics are a regular feature at auctions around the country and at Charterhouse Auctioneer's 28 March auction (15% buyer's premium) one came in the form of a late 18th/early 19th century Chinese lotus bowl.

Netherhampton Salerooms (12.5% buyer’s premium) celebrated their first ever fine antiques sale in Salisbury on April 10 with quite a coup. The quality of this pair of 19th century Chinese lacquer cabinets, right, was such that they were always going to take a respectable price.

This pair of Qianlong turquoise-enamelled Cong vases, 8in (20cm) tall, with coral trigram decoration in relief, made €320,000 (£221,000) against an estimate of €20,000 at the March 7 sale at Piasa Oriental sale (17.94/11.96% buyer’s premium).

“Is it 19th century?” a London dealer inquired of this unusual famille verte vase illustrated right which had been consigned to Woolley & Wallis’s sale with its partner, the more classical, yen yen vase, far right.

Altfield, who specialise in traditional craftsman-made furniture and objects imported from the Far East, have a well-established mainly trade outlet at the Chelsea Harbour Design Centre, but last November, they branched out with a new retail showroom at 320 King’s Road, SW3.

The upside of Asian art in London is that the volume of sales pulls in all the Asian and international buyers. The downside of this concentration is that scheduling without overlap is difficult and buyers inevitably pick their way through all those goods selectively. Christie’s South Kensington, who fielded a marathon 600-plus lot Chinese auction on November 14, felt both effects.

The results of Hong Kong’s October Asian series underscored the increasing polarity in this market in which there seems no limit to collectors’ and dealers’ insatiable desire for the best Qing dynasty mark and period porcelain or quality Chinese works with good provenance, but little interest in more standard Oriental fare.