Jun 23, 2011
The tricky business of recognizing fakes
In a prior post on connoisseurship references for Chinese and Japanese arts, I cautioned about the prevalence of forgeries and the difficulties of recognizing them, even for experts. There I listed a number of useful reference works for specific types of arts. Now I want to point out a new effort that is based on science, a collaborative forensic research project being jointly undertaken by Cranfield University in the UK and Bonhams auction house. The online journal, ART RADAR ASIA, recently did a story on it.
Apr 25, 2011
Pat's New Publications, Spring 2011
I have two new publication out this spring.
The first is "Craftsmanship in Japanese Arts,"
chapter 6 of: Reading Asian Art and Artifacts: Windows to Asia on American College Campuses, edited by Paul K. Nietupski and Joan O'Mara. Lehigh University Press/Rowman & Littlefield, 2011, 123-148.
In this essay, I seek to define the special character of Japanese art, examining both the way Japanese artists approach art production and the appearance of the arts in general. I focus on the high value placed on exquisite craftsmanship in various arts that results from unique cultural and religious factors which encourage patience and diligence by makers, an avid embracing of new technologies, and a penchant by artists for working together in groups.
It focuses on the artist's installation of an intertwined live and dead tree at Cincinnati's decommissioned historic Holy Cross Church, and his concurrent exhibition at the Cincinnati Contemporary Arts Center.
The first is "Craftsmanship in Japanese Arts,"
chapter 6 of: Reading Asian Art and Artifacts: Windows to Asia on American College Campuses, edited by Paul K. Nietupski and Joan O'Mara. Lehigh University Press/Rowman & Littlefield, 2011, 123-148.
In this essay, I seek to define the special character of Japanese art, examining both the way Japanese artists approach art production and the appearance of the arts in general. I focus on the high value placed on exquisite craftsmanship in various arts that results from unique cultural and religious factors which encourage patience and diligence by makers, an avid embracing of new technologies, and a penchant by artists for working together in groups.
The second publication is an article in the May 2011 issue of Orientations magazine,
“Compassion, Craft, and Connectedness: Shinji Turner-Yamamoto’s Cincinnati “Global Tree Project.”It focuses on the artist's installation of an intertwined live and dead tree at Cincinnati's decommissioned historic Holy Cross Church, and his concurrent exhibition at the Cincinnati Contemporary Arts Center.
The Booming Chinese Art Market
I have been inundated lately with queries from collectors who have Chinese art they are interested in selling. No wonder, the astronomical prices Chinese art is now commanding is regularly in the news. Prices are especially high for later Chinese porcelains with imperial reign marks of the most esteemed Qing dynasty emperors (Kangxi, Yongzheng, and Qianlong). But other types of Chinese art are also doing quite well.
In fall 2010, records were set for Qianlong porcelains:
A vase sold at Sotheby's Hong Kong for US$32.4 million in October.
A vase found in an attic in the UK sold at a small London auction house, Bainbridge's, sold for £43 million or US$69.3 million (£53.1 million or US$85.9 million including the buyers' premium), in November (estimate was US$1.3~$2 million). HOWEVER, THE CHINESE BUYER REFUSED TO PAY FOR THIS! (this is not the first time this happened) So this is really a false and misleading public sales record.
UPDATE NOTE Oct. 10, 2011: some reports indicate that finally, the vase has been paid for. Such a delay is customary for Chinese culture, says the Wall Street Journal in an article Oct. 7, 2011. But a story on NPR Morning Edition on Oct. 10, 2011 indicated that the auctioneer and the seller had to go to China to collect the money, and that in May, one British newspaper reported the buyer had made a deposit on the vase of 2 million pounds, but how much of the selling price has actually been received by the auction house is unclear--no one is talking.
UPDATE NOTE ON JANUARY 14, 2013:Today Bloomberg reported that this vase has been sold for less than half the price the original purchaser failed to pay, an undisclosed price between 20 million pounds and 25 million pounds. The private transaction was brokered by the London-based auction house Bonhams. The vase has now been exported. The new owner has been identified by dealers as an Asian collector. See the article here.
Then at the NY auctions in March, many lots exceeded estimates by huge amounts. These surprises included:
An apparent Republican period (early 20th century) vase that buyers obviously believe was of 18th century date, sold for $18 million (the estimate was $800-$1,200).
Another surprise was a 19th century jardiniere that sold at Doyle's for $80,000 (estimate was $5,000-$7,000)
Lastly, a fine 15th-16th century large (20") bronze statue of the Daoist deity Zhenwu, sold at Christie's for $2,210,250 (estimate was $250,000~$300,000)
How to make sense of all this? You must understand that the buyers are wealthy Chinese with deep pockets, for whom buying at auction affirms their status among their peers. Their preference for big, impressive objects associated with eminent imperial reigns affirms their ties to the pinnacle epochs of Chinese history. The fact that Chinese buyers reneg on commitments and fail to pay when winning an exorbitantly high bid for a piece at auction serves as a warning to auction houses worldwide to more carefully ascertain the intent and secure advance credit from would-be buyers.
Note though that there is one category of Chinese art these Chinese buyers will not buy -- funerary art (such as grave goods like tomb figurines) -- because they are superstitious and so shy away from art associated with death. Nevertheless, there are many forgeries of these materials on the market. Furthermore, excavated materials are not allowed to be publicly sold within China.
In fall 2010, records were set for Qianlong porcelains:A vase sold at Sotheby's Hong Kong for US$32.4 million in October.
A vase found in an attic in the UK sold at a small London auction house, Bainbridge's, sold for £43 million or US$69.3 million (£53.1 million or US$85.9 million including the buyers' premium), in November (estimate was US$1.3~$2 million). HOWEVER, THE CHINESE BUYER REFUSED TO PAY FOR THIS! (this is not the first time this happened) So this is really a false and misleading public sales record.UPDATE NOTE Oct. 10, 2011: some reports indicate that finally, the vase has been paid for. Such a delay is customary for Chinese culture, says the Wall Street Journal in an article Oct. 7, 2011. But a story on NPR Morning Edition on Oct. 10, 2011 indicated that the auctioneer and the seller had to go to China to collect the money, and that in May, one British newspaper reported the buyer had made a deposit on the vase of 2 million pounds, but how much of the selling price has actually been received by the auction house is unclear--no one is talking.
UPDATE NOTE ON JANUARY 14, 2013:Today Bloomberg reported that this vase has been sold for less than half the price the original purchaser failed to pay, an undisclosed price between 20 million pounds and 25 million pounds. The private transaction was brokered by the London-based auction house Bonhams. The vase has now been exported. The new owner has been identified by dealers as an Asian collector. See the article here.
Then at the NY auctions in March, many lots exceeded estimates by huge amounts. These surprises included:
An apparent Republican period (early 20th century) vase that buyers obviously believe was of 18th century date, sold for $18 million (the estimate was $800-$1,200).
Another surprise was a 19th century jardiniere that sold at Doyle's for $80,000 (estimate was $5,000-$7,000)
Lastly, a fine 15th-16th century large (20") bronze statue of the Daoist deity Zhenwu, sold at Christie's for $2,210,250 (estimate was $250,000~$300,000)
How to make sense of all this? You must understand that the buyers are wealthy Chinese with deep pockets, for whom buying at auction affirms their status among their peers. Their preference for big, impressive objects associated with eminent imperial reigns affirms their ties to the pinnacle epochs of Chinese history. The fact that Chinese buyers reneg on commitments and fail to pay when winning an exorbitantly high bid for a piece at auction serves as a warning to auction houses worldwide to more carefully ascertain the intent and secure advance credit from would-be buyers. Note though that there is one category of Chinese art these Chinese buyers will not buy -- funerary art (such as grave goods like tomb figurines) -- because they are superstitious and so shy away from art associated with death. Nevertheless, there are many forgeries of these materials on the market. Furthermore, excavated materials are not allowed to be publicly sold within China.
Dec 6, 2010
NEW: The Experts' Guide to Collecting
The Appraisers Association of America (AAA) has recently produced a very useful small booklet (31 pages) for art collectors that anyone can purchase. I highly recommend it.
For a preview, information about the AAA, and to order the booklet, click HERE.
For a preview, information about the AAA, and to order the booklet, click HERE.
Sep 6, 2010
Appraising Methods
People often ask how I arrive at valuations for their art. To determine a value I draw upon my experience over many years of looking at art similar to the types of materials I am assessing, and also knowledge of the art market for this art. These days the art market is global, thanks to the internet. So valuing art is a complicated business. Some art sells publicly, at auction, other types sell privately through dealers. My 30+ years of studying Asian art provides me with the experience to understand which markets serve as appropriate comparables to the art I am assessing.
I often start by checking the auction market, and to do this I rely on a number of internet sites, some are free, others require payment by subscriptions. I like to look at the websites for large international auction houses where Asian art is regularly sold such as Bonham's, Christie's, and Sotheby's. Also, the main auction houses in China and Japan, and regional houses in Europe and the USA.
I also rely on databases of auction sales results. But among these, I have found no single site sufficient, each seems to specialize in different types of art or includes results from somewhat different worldwide auction houses. I list the ones I use most often for Asian art below, but I caution readers of this blog to realize that when I look at objects on these sites, I do so with greater knowledge than you possess about your materials, and so I am more easily able than you to make judgments regarding the quality of what I see in the sites' little online pictures.
Artnet
Artprice
Artron (in Chinese)
Blouin
Invaluable
LiveAuctioneers
I often start by checking the auction market, and to do this I rely on a number of internet sites, some are free, others require payment by subscriptions. I like to look at the websites for large international auction houses where Asian art is regularly sold such as Bonham's, Christie's, and Sotheby's. Also, the main auction houses in China and Japan, and regional houses in Europe and the USA.
I also rely on databases of auction sales results. But among these, I have found no single site sufficient, each seems to specialize in different types of art or includes results from somewhat different worldwide auction houses. I list the ones I use most often for Asian art below, but I caution readers of this blog to realize that when I look at objects on these sites, I do so with greater knowledge than you possess about your materials, and so I am more easily able than you to make judgments regarding the quality of what I see in the sites' little online pictures.
Artnet
Artprice
Artron (in Chinese)
Blouin
Invaluable
LiveAuctioneers
Japanese Art Organizations
I'm writing to introduce two non-profit organizations devoted to the study and appreciation of Japanese art.
Anyone interested in the study and collecting of Japanese art is welcome to join. It is worth joining both, as they focus on different aspects of the Japanese art world.
JAPAN ART HISTORY FORUM (JAHF)
This organization was founded in 1997. It is affiliated with two professional societies in the United States, the College Art Association and the Association for Asian Studies. Membership is open to anyone worldwide with a serious scholarly interest in the study of Japanese art history, visual and material culture, including faculty and graduate students in art history and related fields, museum professionals, independent scholars, and serious collectors. Current membership: ca. 300 persons worldwide.
The organization's mission is to promote the study and understanding of Japanese art history, visual and material culture, by coordinating structured and informal opportunities for interchange and dialogue among members at special exhibitions and symposia of Japanese art and at other scholarly conferences in North America, and by encouraging research and dissemination of research, on our e-mail list-serve, to which members are automatically subscribed when they join our organization, and on the secure, members section of this web site.
In addition to the general information on the visitors side of the JAHF website, the much more extensive secure, password-protected, member section of the group's website contains a wealth of information of particular interest to professionals and students in our fields. Sections include information about individual members, bibliographies, course syllabi, practical professional advice, travel tips, photo acquisition sources, online reference material (including digital image databases and online exhibitions), archives of topical discussions from our email list, an organizational history where we post our annual activities, and official documents pertaining to our group.
JAPANESE ART SOCIETY OF AMERICA (JASA)
The Japanese Art Society of America promotes the study and appreciation of Japanese art. Founded in 1973 as the Ukiyo-e Society of America by collectors of Japanese prints, the Society's mission has expanded to include related fields of Japanese art. Through its annual lectures, seminars and other events, the Society provides a dynamic forum in which members can exchange ideas and experiences with experts about traditional and contemporary arts of Japan.
The Society also sponsors important exhibitions, such as Designed for Pleasure: The World of Edo Japan in Prints and Paintings, 1680–1860, shown at Asia Society in New York City, Spring 2008. The society publishes a quarterly Newsletter for members and an annual journal, Impressions, recipient of the 2009 Donald Keene Prize for the Promotion of Japanese Culture, awarded by the Donald Keene Center, Columbia University.
Anyone interested in the study and collecting of Japanese art is welcome to join. It is worth joining both, as they focus on different aspects of the Japanese art world.
JAPAN ART HISTORY FORUM (JAHF)
This organization was founded in 1997. It is affiliated with two professional societies in the United States, the College Art Association and the Association for Asian Studies. Membership is open to anyone worldwide with a serious scholarly interest in the study of Japanese art history, visual and material culture, including faculty and graduate students in art history and related fields, museum professionals, independent scholars, and serious collectors. Current membership: ca. 300 persons worldwide.
The organization's mission is to promote the study and understanding of Japanese art history, visual and material culture, by coordinating structured and informal opportunities for interchange and dialogue among members at special exhibitions and symposia of Japanese art and at other scholarly conferences in North America, and by encouraging research and dissemination of research, on our e-mail list-serve, to which members are automatically subscribed when they join our organization, and on the secure, members section of this web site.
In addition to the general information on the visitors side of the JAHF website, the much more extensive secure, password-protected, member section of the group's website contains a wealth of information of particular interest to professionals and students in our fields. Sections include information about individual members, bibliographies, course syllabi, practical professional advice, travel tips, photo acquisition sources, online reference material (including digital image databases and online exhibitions), archives of topical discussions from our email list, an organizational history where we post our annual activities, and official documents pertaining to our group.
JAPANESE ART SOCIETY OF AMERICA (JASA)
The Japanese Art Society of America promotes the study and appreciation of Japanese art. Founded in 1973 as the Ukiyo-e Society of America by collectors of Japanese prints, the Society's mission has expanded to include related fields of Japanese art. Through its annual lectures, seminars and other events, the Society provides a dynamic forum in which members can exchange ideas and experiences with experts about traditional and contemporary arts of Japan.
The Society also sponsors important exhibitions, such as Designed for Pleasure: The World of Edo Japan in Prints and Paintings, 1680–1860, shown at Asia Society in New York City, Spring 2008. The society publishes a quarterly Newsletter for members and an annual journal, Impressions, recipient of the 2009 Donald Keene Prize for the Promotion of Japanese Culture, awarded by the Donald Keene Center, Columbia University.
Sep 5, 2010
Global Partners for Local Organic Food Project Now Over
Our project has now ended. Everyone learned a lot and we all made some new friends. Most important, the participants connected with like-minded individuals and group from across the globe. This project was of personal interest to me because it helped me understand the need for studying the cultural heritage of Japan's rural communities. Visiting Ogawamachi in Saitama prefecture, our partner site, I realized that crafts and historic preservation are being revitalized alongside the community's efforts to create a model sustainable town for Japan. I hope to return one day before long to pursue my study of the area's artistic heritage further. I offer thanks to all who made our journey possible!
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