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China Guardian’s 2006 Autumn Auctions came to a close with a grand total of 447 million RMB, maintaining its role as leader among the high caliber antiques and arts auction houses of China.
Private collections such as the Shi Sun Zhai Collection of Fine Chinese Calligraphy, the Jing Guan Ju Collection of Fine Modern Paintings and Calligraphy, the Cun Ren Tang Collection of Porcelain and Works of Art and the Li Anshen Collection of Banknotes received the most focused attention and appreciated the greatest successes.
Painting and Calligraphy
China Guardian’s first ever auction entirely comprised of calligraphy, the Shi Sun Zhai Collection of Fine Chinese Calligraphy, achieved pleasing results with 100% of lots selling, and was a sign of the acceleration in the current calligraphy market. Poem in Seven Character Verse, Li Script, by Zheng Fu, reached RMB 440,000.
Chinese Calligraphy is a unique art form, its abstract structure has been appreciated and favored by art lovers the world over, but the classical calligraphy market has been separated from the classical painting prices by a large gulf for a long time. Professional analysts note that this sale’s success not only indicates that the artistic value of calligraphy outlasts the trials of the market, but at the same time shows that this collector’s status also received the approval of buyers. Understanding has it that the collector who offered these lots has over twenty years of collecting experience, and the pieces follow the structure of calligraphy’s historical development, from the Yuan dynasty through modern times, carefully gathering important works by the famous calligraphers of each era. The quality of these lots, on top of a relaxed attitude towards the market, and reasonable estimates, generated an incredibly successful sale.
In the Classical Painting and Calligraphy sale, works by Dong Qichang, Wang Yuanqi and Gong Xian achieved ideal prices. A twenty leaf album by Dong Qichang, Paintings Accompanied by Calligraphy, reached over RMB 5.5 million. Another point worth noting is that aside from the famous artists that every one is familiar with, wonderful works by many other well-known Ming and Qing artists created other sale highlights. For example the large two leaf album by Luo Pin, which reached the high price of RMB 220,000, or Qian Du’s Stone Cliffs and Heavenly Lakes or Dai Xi’s Spring Waves, achieving RMB 803,000 and RMB 440,000 respectively.
Analysis of China Guardian’s three classical painting sale offerings at this auction, Classical Painting and Calligraphy, the Shi Cun Zhai Collection of Calligraphy, and the Jue Cha Xuan Collection of Calligraphy and Painting, is quite revealing. First, the importance of classical painting and calligraphy is becoming more recognized by collectors, supported by the market for good works by well-known painters; Also, a topic that all should be pondering is the fact that there still has not been any period of time where good pieces by the best artists have had inconsistent results; Third, looking from a larger perspective, the positive development of the classical painting and calligraphy market still needs stronger academic support. Aside from financial resources and spunk, new collectors still need to go through the long process of familiarization and knowledge-building about this art. For example, Ni Zan’s Frosted Branches, Rock and Bamboo, which received the approval of important national experts, but lacked the interest of buyers and was eventually passed over without bidding, is not a small shame.
The sales rate for Modern and Contemporary Ink Painting were slightly lower than at this time last year, but artists such as Qi Baishi, Huang Zhou, Li Kuchan and Xu Beihong still performed strongly, working to sustain and stabilize the overall market.
Sale of Nine Modern Masters from the Jing Guan Ju Collection included impressive works by the masters Wu Changshuo, Qi Baishi, Zhang Daqian, Wu Hufan, Xu Beihong, Fu Baoshi, Huang Binhong and Li Keran. Ten lots stood alone, presented in one catalogue as an independent sale and so turned many heads. The atmosphere in the sale room was electric, collectors from home and abroad demonstrated an extreme desire to have these pieces and furious competition for the ten lots carried on for nearly an hour. In the end the sales rate was 100% and the total was RMB 29.8 million, breaking market levels for a sale of its kind.
Li Keran’s Danxia Mountains, made in 1963, can be considered a masterpiece of his transitional period, and sold in the end for RMB 7.48 million. Fu Baoshi’s figure painting, Treasured Inkstone Hall sold for RMB 5.06 million, and was a gift to a friend, painted in early 1948. The composition is skilled, the figure is delicately composed, and it is evident that the painting was made with the careful attention of the artist, and can be considered one of his rarest and finest works.
The Fine Contemporary Painting sale totaled RMB 23.18 million, with a rate of 82.2%, including He Jiaying’s Secluded Thoughts, which sold for RMB 1.1 million. From the 1990’s to now Chinese ink and wash painting has been in a state of complete vibrancy, and it is especially those artists painting so-called ‘experimental ink and wash paintings’ that are stirring things up.
For example Li Xiaoxuan’s Silent Netherworld, which sold for RMB 451,000, Gu Wenda’s Lost Dynasty Series No. 1, at RMB 440,000, Liu Jin’an’s Statement, at RMB 352,000, Liu Qinghe’s Li Shui No.1, at RMB 319,000, and Li Jin’s Eating to My Heart’s Content, which sold for RMB 264,000. Looking at the results, experimental ink painting has already become an important phenomenon in the history of he development of Chinese contemporary ink and wash art.
Porcelain, Works of Art and Jewellery
The Cun Ren Tang Collection of Porcelain and Works of Art reached a total of RMB 15.66 million with a sales rate of 83.72%. A Qianlong era Red Lacquer Chrysanthemum-shaped Box and Cover with poetry reached RMB 5.5 million. It was commissioned from Suzhou manufacturers for imperial use and the number of such works is highly limited, with notable matching pieces in the Palace Museum and the Nanjing Museum. Another imperial furnishing, the Qianlong era Large Blue and White Zun Vase is a very fine piece, rarely seen in today’s market, and due to its immaculate condition it sold for RMB 1.87 million. A Royal Jade Ruyi Scepter with Imperial Poetry, of the highest level of imperial wares, sold for RMB 1.32 million.
Sale of Porcelain, Works of Art and Jewellery totaled RMB 43.78 million, and the lot that commanded collectors’ attentions, the Rosewood Floral Screen for Palace Use, sold for RMB 6.38 million. This floral screen is perhaps the largest known such work. Its majestic use of the materials and vivid carving utilize the best qualities of imperial workmanship. Also, of all of the literati implements that survive the tests of time, the rarest are brushes, and especially rare are bamboo brushes. A Wanli era Carved Bird and Flower Bamboo Brush received extremely hot bidding, reaching the ideal price of RMB 990,000. This auction also saw a high rate of success for Longquan porcelain, especially a classic Yuan dynasty Dragon Platter, which sold at RMB 352,000. A Ming dynasty, Yongle era Gilt-Bronze Vajrapani Bodhisattva and an early Ming Gilt-Bronze Sakyamuni Buddha Head both reached above the million RMB mark to RMB 3.85 million and RMB 1.89 million respectively. Within the Jadeite and Diamond sale, a deep green exquisite Jade Ring sold for RMB 495,000.
Oil Painting and Sculpture
Oil Painting and Sculpture sales totaled RMB115 million, on par with spring’s sales. From the revenue totals, both the Oil Painting and Sculpture and the 20 Years of Contemporary Chinese Art sales were about even. From the perspective of sales percentage by lots, the latter outshone the former by 5%.
According to introductions by experts, the Chinese oil painting market as a whole appears as it should and is developing in a mature direction. From a perspective of buyer group composition, there was not an obvious division between the two sales; As long as the pieces were important, large groups of buyers were attracted. For example Jin Shangyi’s Tajik Girl, which sold for RMB 3.85 million, Chen Danqing’s Men of Kangba, at RMB 3.52 million, Wu Dayu’s Untitled, at RMB 1.925 million, and Pan Shixun’s Tibetan Cowhand at RMB 1.1 million.
The sale of 20 Years of Chinese Contemporary Art reached its expected sales rate and market attention. Xiao Lu’s installation work Dialogue, the most influential instillation and performance artwork in contemporary Chinese fine arts history, and one of the most important symbols of contemporary Chinese fine arts history, received a great amount of international attention from collectors, media and society, selling at RMB 2.31 million, reflecting the force that this type of artwork commands.
There were also early works by artists already well-established in the market, such as Zhang Xiaogang’s Tian An Men and Love of Generations, reaching RMB 5.77 million and RMB 3.85 million respectively, and Wang Guangyi’s North Pole Conglomeration No. 25, which reached RMB 1.21 million. At the same time mature artists who have not yet fully stepped out into the market saw high results. For example Liu Yi’s Beijing – 2008, selling for RMB 1.81 million, Ma Gang’s China Super Virtual Show, at RMB 858,000, Ling Ji’an’s White-haired Woman at 770,000 and Zeng Guogu’s Pig Vs. Computer No. 62, at RMB 473,000.
In the recent years, Chinese contemporary art has gradually become an area for academic research, collection investment, and a hot sector of the art market. A rush of contemporary artworks has hit the market, especially in the last year, making the market dangerously unclear. Expert opinion was that this sale of 20 Years of Contemporary Chinese Art was largely designed around the history of fine arts, pushing beyond the idea that ‘anything that sells well should be auctioned.’ Therefore, success under such conditions is no doubt obviously positive. At the same time, experts also brought up the point that facing the upsurge in contemporary art, one cannot embrace blind optimism, but must adopt a rational attitude.
Insiders convey that contemporary Chinese art followed a bumpy road to development after its beginnings with the ’85 New Wave Fine Art. Artists labored through creative stages, with a courageous and aggressive spirit of exploration along with a subtle insights towards society and culture, together bringing out the richness inherent in modern life, creating the brilliant individual styles and vitality of the contemporary arts scene.
At the same time, within the background of cultural globalization, and today’s increasing cultural interaction between China and abroad, contemporary Chinese art, from its beginnings of studying and borrowing, has developed a mature and independent consciousness. It has an obviously characteristic language and global art perspective, and is beginning to have a distinct international influence and reputation. Looking at it from still another angle, those works that are technically strong and that will receive the most attention are still in the process of development and there is a high degree of potential in the upcoming market.
Rare Books and Manuscripts Rubbings and Calligraphy
The sale of Rare Books and Manuscripts totaled 4.08 million, at a rate of 72.8%. In comparison with previous sales, the specialty of this sale was in the finer quality of its lots, which buyers met with approval. Manuscript copies and movable type printings were almost all successful and worked to drive the rest of the sale.
Also, in line with the continual rise of the rare books and manuscripts market, gathering rare manuscripts has become increasingly difficult. Therefore, discovery of historical book collectors and historic collections has become especially important, for example the Weng Family Collection and the Cheng Family Collection which performed so well in this sale.
The more than 40 Qing imperial memorials that were gathered for this sale and the other imperial offerings produced a massive reaction in the market. A piece by He Sen with Crimson Commentary by Qianlong was hotly contested by phone bid, and went to the actor Wang Gang, known for his portrayals of He Sen; and in amanner of thinking the work returned to its original owner.
Rubbings and Calligraphy brought in RMB 3.52 million at a rate of 56.34% by lot, higher on both counts than the spring auction results. A Sui and Tang Dynasty Manuscript sold for RMB 1.21 million, over ten times its estimate. A Qing dynasty hand scroll by Liu Yong reached RMB 368,500, while a Yuan dynasty rubbing of Wang Xizhi’s Huai Ren Ji reached RMB 176,000 and a Song dynasty rubbing of Huang Ting Jing achieved RMB 209,000.
Stamps, Coins and Bronze Mirrors
The Stamps and Covers sale totaled RMB 3.941 million, including an 8c Tian’an men with Rays of Light stamp that sold for RMB 407,000, the highest price archived for such a stamp. Liberated areas stamps from the collection of famous philatelist Shen Zenghua also performed well, such as group of four interlinked Yanfu Train Issue 50c stamps and the Huainan Second Issue set of two stamps that went for RMB 88,000 and RMB 44,000 respectively. Also, there was the Stage Art of Mei Lanfang group of eight stanps that sold at the high price of RMB 198,000.
Sale of Banknotes Including the Li Anshen Collection totaled RMB 8.118 million at a rate of 89.19% in the first ever independent sale of banknotes. Many lots well surpassed their estimates, owing to the fame of the collector, the reliability of the pieces, and the appearance of items not seen on the market in years. A non-issued One Yuan bill from the Bank of China sold at RMB 528,000, only three to four of such bills are known to exist and this is an especially rare version. Also, an old collection of First Ren Min Bi printings sold at RMB 715,000.
Ancient Coins, Gold and Silver Sycees and Manufactured Currency totaled RMB 14.47 million at a rate of 71.26%, including a Republic of China group of Three Alloy Patterns with Dr. Sun Yat-sen’s bust, which sold at RMB 2.2 million, a world record for manufactured Chinese currency. In all of modern currency only this set uses the characters ‘guobi’ and this set is perfectly preserved, a one of a kind group.
Another standout group was the gold and silver sycees, which sold 100% of lots, a massive increase in sales compared to last spring’s auction of similar pieces. A Ming dynasty Changzhou 50 taels silver sycee was a rare lot, worth researching and of high collecting value as a cultural relic relating to Ming dynasty land taxation, and went at last for RMB 220,000. An Admiral Zhang Zuolin One Yuan silver coin and a Sun Yat-sen One Yuan nickel coin sold for RMB 1.012 million and RMB 935,000 respectively.
Bronze Mirrors sold a total of RMB 1.31 million, including a Tang dynasty Sun-shaped mirror with beasts that was the highest lot at RMB 440,000, and was a very rare early Tang piece, notable both for its patterns and inscriptions, of fine craftsmanship and exquisite appearance.
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