Collectible Investments: Opportunities to grow your portfolio…

Unlike vintage wine, classical art and centuries-old antiques that can cost an arm and leg to invest in, alternative collectables such as whiskys, sneakers and the burgeoning NFTs are easier (and relatively less expensive) to enter into the market and starting investing in now for higher returns in the future. Here are six types worth considering…

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Whisky
In over an eight-year period, the value of single malt whisky has risen by 361.09% in value with particular interest in rare and special edition collections. Last October the oldest Japanese whisky Yamazaki-55 fetched a whopping HK$6.2 million while a collection of six-special edition Macallan single malt whiskys went under the hammer for an astounding HK$20.65 million, proving to be a lucrative investment.
Chinese antiques
Chinese antiques such as rare porcelains, jades, sculptures, bronzes and traditional works of art and calligraphy spanning 4,000 years reflect a rare part of Chinese history and heritage that is highly valued for its provenance and the fact that many of these artefacts were produced by high-ranking officials or housed within Chinese imperial quarters. Sotheby’s alone held a total of 23 live and online auctions across 3 continents for Chinese Art which altogether realised over US$193 million last year. With sales of Chinese art and antiques surging over the last decade, investments in Chinese traditional art and antiques have proven to be of high value and worth in the marketplace.
Vintage handbags
Vintage handbags, dating over 20 years back, are known to fetch a sum on auction blocks. According to the Knight Frank Luxury Investment Index, handbags performed better than art two years ago, profiting with 13% gain in overall returns. World renowned luxury houses such as Hermès, Chanel and Louis Vuitton are known to have produced limited and highly exclusive hand bag models, such as Hermès Birkin, Chanel Flap Bag and Louis Vuitton Neverfull, often going under the gavel for hundred thousands and even millions (USD).
Comic books
Once deemed as a pastime for the pre-pubescent, comic books — particularly rare first editions — have burgeoned into an unexpected investment opportunity in the last year or two. Their investment value have seen jaw-dropping returns such is the case of the record-breaking DC Comics Superman-debuting Action Comics #1 from 1938 which sold for a staggering HK$25 million, while the original artwork of the fifth instalment of the Tintin series from 1936, The Blue Lotus, fetched a whopping HK$31.75 million.
Sneakers
When it comes to the hypebeast culture — specifically sneakers —the truth of the matter is that although these footwear, at face value, don’t hold much value in themselves, their demand in the market have driven its worth through the roof. Rare or limited edition sneakers commonly resell for over 50 times its original cost. A case in point is the latest sale of a Yeezy at Sotheby’s, the original Nike Air Yeezy 1 that was worn by the artist Kanye West himself during his performance at the 50th Grammy Awards which sold for a jaw-dropping US$1.8 million, and this is just one example of many sneaker editions that have made headlines in the past.
NFTs
Non-fungible tokens are unique and new to the world of investment yet it is the talk of the town. One-of-a-kind and irreplaceable certifications of authenticity of any digital work from musical albums to digital art have proven to be worth millions at auctions as seen by the ground-breaking sales of two digital works in two different areas of the creative industry. Digital artist Beeple’s Everydays: The First 5,000 Days collection of illustrations went under the gavel for nearly US$70 million at Christie’s, while American producer and DJ 3LAU’s Ultraviolet music album fetched an astonishing US$11.7 million, and it is not likely to stop there.

Home Run Hitters: Rare and outstanding collectibles that recently went under the hammer

An elegant emerald exceeds the estimate

A truly Superb Emerald and Diamond Ring – originally from the impeccably provenanced collection of Cecile Zilkha, the jewellery connoisseur and high-profile socialite wife of Ezra Zilkha, the renowned US financier and philanthropist – recently found its way to Sotheby’s New York. Immediately recognising both its value and its significance, it was swiftly incorporated into the auctioneer’s Magnificent Jewels sale, whereupon it changed hands for a stunning HK$28.4 million, more than three times the prior highest estimate.

At least part of its appeal lay in its long association with Zilkha, a high-society hostess legendary for laying on soirées that welcomed such 20th-century luminaries as Ronald Reagan, David Rockefeller, Henry Kissinger, Margaret Thatcher and Barbara Walters. On every occasion, she never failed to impress, frequently deploying her magnificent wardrobe and jewellery collection to beguiling effect. The ring, bearing Cartier’s personal imprint – features a square emerald-cut Colombian emerald weighing 21.86 carats. Enclosed with it was an official letter testifying that “a natural emerald from Colombia of this size and quality can be considered rare and exceptional.”

Tintin creator never goes out of fashion

Few authors / illustrators attract the same longstanding and universal affection as Hergé, the creative tour-de-force behind The Adventures of Tintin. Indeed, acclaim for his narrative innovation and pioneering graphic style remains undimmed. Particularly, one of his admired and best-loved works – The Blue Lotus (Le Lotus Bleu) – dates back to 1936, with its recent presentation for auction, something of a cause célèbre for Tintinophiles the world over.

As a sign of the prestige accorded to this singular adventure, its original artwork went for a whopping HK$31.75 million as part of The Universe of the Creator of Tintin sale organised by Artcurial, a specialist Parisian auction house. Along the way, it set a new world record for an original comic strip artwork sold at auction.

DaVinci doppelganger proves a big draw

Salvator Mundi, an iconic work of Leonardo DaVinci, the rightly-celebrated Italian Renaissance artist, is unquestionably one of the most valuable cultural touchstones of all time, unsurprisingly holding the world record as the most expensive painting to ever to be sold at public auction. Lesser known, but still hugely valuable, is an earlier take on the same Saviour of the World theme, which was completed by another venerable Italian master some 10 years prior to Leonardo creating his own masterpiece.

The work of Florence-born Domenico Ghirlandaio, one of the leading lights of the highly-influential 15th-century Florentine Renaissance movement, the work was long thought missing, although it was eventually recovered and offered for sale as part of Christie’s recent online Old Masters Evening Auction. A tempera and oil on panel work measuring 33.3cm x 23.7cm, it shares the Salvator Mundi title and fetched a total of HK$23.1 million when it went under the gavel. The artwork in question is seen as a high-water mark among the oeuvre of the artist who, in his time, ranked favourably alongside such truly classic greats as Sandro Botticelli, Andrea del Verrocchio and the Pollaiolo brothers.

Venerable baseball card still a big hitter

Excitement reached something of a fevered pitch among keen collectors and canny investors alike when the news broke that the world’s most highly valued baseball card was once again to be auctioned. As an event, it certainly didn’t disappoint, exciting a keen bidding war between baseball fans and baseball card collectors.

The card in question – a 1952 Topps Mickey Mantle – was graded Mint 9 (making it almost perfect) by the Professional Sports Authenticator (PSA), the industry’s authentication / valuation body. Given its provenance and condition, then, it was no surprise that it ultimately sold for HK$40 million to Rob Gough, an avid collector, actor and entrepreneur, who had dreamt of owning that very card as a child, going on to describe it as “the Mona Lisa of sports cards”.

The sale marked a high point even among the recent run of sales of sports trading cards that has seen such items firmly established as million-dollar collectibles. Last October, for instance, the Mile High Card Company sold a T206 Honus Wagner for HK$25.2 million and most recently, one of the six other 1952 Topps Mickey Mantle cards known to exist also went for a mega HK$40 million when up for sale at the PWCC Marketplace in January this year.

Andante showcases Matteo Negri’s first solo-exhibition in Hong Kong

Andante opens its doors to a thrilling solo-exhibition in its Central showroom The Design Showcase where a selection of sculptures and paintings by Italian visual artist Matteo Negri will be displayed in his first solo exhibition in Hong Kong.

Hong Kong’s lifestyle expert in contemporary designer furniture, lighting and decorative items Andante invites its guests into its elegant 450sq.m design space for a unique experience that will thrill visitors’ visual perception.

Featuring Andante’s new furniture collection against the backdrop of a selection of nine unpublished works by Negri. The exhibition, titled “I contain multitudes”, is a body of work that was developed in a span of three years between the year 2017 and 2020. The works comprise a collection of Lego-shaped sculptures and vibrant geometric paintings that impressively redefines how one observes and experiences physical space.

The Milan-born artist is known for his eclectic style of pop art, use of geometrical shapes and 4D sculptures that can only spawn from vibrant and out-worldly imaginations. His artistic practice, as he expresses, is “aimed to analyse the perceptive role of the surface and the colour, both in the field of sculpture and of artworks that are two-dimensional in nature”.

A case in point is his use of reflections as a means to keep a kinetically activated relationship with viewer and subject. The mirrored-Lego pieces used in his sculptures uses reflection to manipulate a viewer’s perception of space — keeping the object from remaining as a static and absolute form.

His vision to create an object that can go beyond “a static and monolithic vision of the usual art-work” is reflected — literally — by the aluminium, coloured paper, glass and iridescent films that are observably abundant in his work. Unsurprisingly, the outcome unveils a magical charm at every angle.

The exhibition will run until 30th April at Andante’s Central-set showroom at The Design Showcase. Availability is subject to limited seats on a first come first serve basis.

When: From now until 30th April 2021
Where: Shop D, G/F, The Design Showcase, Ruttonjee Centre, 11 Duddell Street, Central, Hong Kong Island.

For more information visit www.andante.com.

Restoring Hong Kong’s love of Cantonese Opera

Arguably one of the few artforms to spring fully-formed from Hong Kong, Cantonese Opera is a wholly theatrical experience comprising equal parts singing, acting and martial arts. One of the many sub-categories of xiqu (Chinese opera), it also boldly integrates an array of elaborate costumes, exotic make-up and exaggerated facial expressions that all play a part in interpret themes of classical Chinese history and folklore.

Transcendentally popular for generations, the last half-century or so has not been kind, with it gradually fading from public acclaim. Of late, however, there have been signs of something of an uptick in its fortunes. Whether this is a blip in its continued decline or the beginning of a more sustained renaissance is, of course, debatable.

Restoring Hong Kong's love of Cantonese Opera gafencu magazine (2) — Tea House Theatre Experience, Cantonese Opera Excerpt Performance: The White Dragon Pass courtesy of West Kowloon Cultural District Authority

From the late ’60s on, however, the continuing rise of the film industry more or less eclipsed Cantonese Opera. With showing movies proving more profitable and less logistically challenging than staging performances, the city’s local opera sector became increasingly marginalised. Adding to its woes, as real estate values soared, several well-established performance spaces, including the Prince’s Theatre and the Ko Shing Theatre were demolished prior to being developed.

It was a process that continued well up to the end of the millennium. In 1998, for instance, the city’s oldest surviving opera house – the ’30s-built Yau Ma Tei Theatre – closed its doors for the last time. This left the Sunbeam Theatre as the artform’s only remaining venue. Although, in 2009, UNESCO designated Cantonese Opera as part of China’s intangible Cultural Heritage, the move came too late for many of its historical locales and its once mighty troupes.

Xiqu Centre courtesy of West Kowloon Cultural District Authority

This honorific, however, did come at a time when there were signs of something of a rebirth. Indeed, in 2012, the Yau Mau Tei theatre reopened as the first new Cantonese opera venue for several generations. Seven years later, it was joined by the government-funded Xiqu Centre in Tsim Sha Tsui and all the signs were this legendary artform might be heading back into favour – and not just among the more nostalgic, older city dwellers.

In fact, contrary to popular belief, Cantonese Opera has never just been aimed squarely at elderly aficionados. Underlining this, a number of local educational bodies, notably the D. H. Chen Foundation, have bankrolled such initiatives as the Cha Duk Chang Children’s Cantonese Opera Association in the hope of nurturing a new generation of theatregoers and performers.

Restoring Hong Kong's love of Cantonese Opera gafencu magazine (4) — Cha Duk Chang Children’s Cantonese Opera Association

In perhaps the most positive sign of affirmation, in 2009, Cantonese opera became a compulsory part of the music syllabus in all primary and secondary schools across Hong Kong. Later, in 2018, as sign of its incorporation into the digital age, online viewing of contemporary performance became widely available for free through various local government websites. Despite such positive moves, the battle to restore Cantonese Opera’s cultural ascendancy is far from over. In many ways, the biggest challenge is to convince up and coming generations that it remains both vibrant and, most of all, relevant to them.

Restoring Hong Kong's love of Cantonese Opera gafencu magazine (11) — Actress Christie To Wing-sum of the Tea House Rising Stars Troupe courtesy of West Kowloon Cultural District Authority

In the case of 27-year-old Christie To Wing-sum, a professional member of the Tea House Rising Stars Troupe, she has been appearing in Cantonese operas since she turned four. Assessing how the artform is currently perceived, she says: “While Cantonese operas don’t seem to resonate with many local teenagers, some of whom seem to find it old fashioned, a lot of my friends have come to see me perform and have become increasingly open to it.”

“From the late ’60s, the rise of the film industry more or less eclipsed Cantonese Opera”

However, gaining the youth’s attention is not the only obstacle standing in the way of this Cantonese artform’s revival. According to the West Kowloon Cultural District Authority, its long hiatus has also resulted in a shortage of new products, musical arrangements and a limited pool of suitably accomplished performers.

The latter problem partly derives from the long and arduous training process involved, which requires both strenuous vocal coaching and a strict physical regime. Expanding upon the particular challenges, To says: “Most of the Cantonese opera actors in Hong Kong are only ever employed on a freelance basis, making it difficult, in terms of both time and budgetary constraints, to maintain a regular training schedule. The majority also have to prepare their own costumes, which is, again, prohibitively expensive.”

Naomi Chung, Head of Xiqu for the West Kowloon Cultural District Authority, is, however, confident that all such difficulties can be overcome, saying “Cantonese Opera has always been self-reliant and will never stop evolving. It’s market driven and it always finds an audience.”

In order to help find just such an audience, the Authority is currently hosting free Cantonese Opera-related programmes at its dedicated Xiqu Centre, as well as staging contemporary interpretations of classic works. In particular, this has been channeled through two particular programmes – the Tea House Theatre Experience and the Experimental Chinese Opera Festival – both primarily intended to popularise Cantonese opera among up and coming generations.

In the case of the former, this majors on nurturing local young actors and crew members and attracting a new generation of theatregoers, with martial arts performances incorporated for that particular purpose. In the case of the latter, this focuses more on cultivating new productions and playwrights in order to better serve a wider demographic of attendees than are traditionally drawn to xiqu events.

Exceptionally rare and magnificently adorning collectibles

Commanding the auction block at major auction houses around the globe from a Van Gogh masterpiece to a traditional Qianlong furniture to the oldest-ever Macallan collection, these are the collectibles that went under the hammer at outst

Green piece

Admirable Emerald Acquired

Gems to seek out and keep, emeralds have long been among the world’s most valued precious stones. In their time, such jewels have beguiled the likes of Queen Cleopatra and the Duchess of Cambridge, while both the Ancient Egyptians and Aztecs believed them to have otherworldly qualities. The continuing popularity of emeralds were certainly proved at the recent Christie’s Hong Kong Magnificent Jewels auction, where the Boghossian Emerald and Diamond Double Rivière sold for HK$54.3 million.

This stunning piece was a product of a combination of their rare talents between the high-end Genevan jewellery house, Boghossian and legendary designer, Edmond Chin. This captivating necklace, which incorporates 28 eight cushion and octagonal-cut emeralds, twenty-two oval and rectangular-cut diamonds, and a range of vari-cut diamonds and fancy-cut jadeite. Boasting a gold interior, its dual-hued appeal is undeniable.

Exceptionally rare and magnificently adorning collectibles gafencu magazine The Macallan Red Collection

Spirit of the ages

Oldest-ever Macallan Goes Under the Hammer…

For many true connoisseurs, The Macallan is one of the world’s leading producers of fine single malts. Although this venerable Scotch maker has changed hands several times throughout the course of its near 200-year history, its reputation for both consistency and quality somehow survived every transition. As a sure sign of this, prime examples of its distilling took pride of place at the recent Ultimate Whisky Collection auction staged by Sotheby’s London as among the most competed-for lots – The Macallan Red Collection. Comprising a complete set of six whiskies including The Macallan 40, The Macallan 50, The Macallan 60, The Macallan 71, 74 and an astounding The Macallan 78. The latter item was not only the oldest bottle ever released by The Macallan, it was also the oldest age statement whisky ever offered at auction.

This rare set is sure to be deemed a true classic in times to come, with its easily distinguishable, exclusive labels all featuring images commemorating the brand’s illustrious heritage. One of only two sets to be produced (the other resides in the distiller’s archive), the six-bottle collection fetched an eye-watering HK$20.65 million.

Exceptionally rare and magnificently adorning collectibles gafencu magazine van gogh Fleur Dans Un Verre,

Lost then found

Lost Van Gogh Work Makes an Impression

A fascinating irony evident in the works of Vincent Van Gogh, one of the most influential painters of all time, is the vibrance and vitality that characterises all his major pieces, elements that his own tortured and truncated life was notably devoid of. Seldom is this more apparent than in Fleur Dans Un Verre, one of a small group of floral oil paintings created in 1890 during the Dutch master painter’s Paris residency. Sadly, it was one of the last major works completed before the artist abandoned his decade-long career and, ultimately, took his own life. Contemplating this refined display of oil on canvas (measuring some 41.3cm by 33.3cm), it is impossible to reconcile the sheer joy of the work, with its vibrant hues and vivid expressionism, with what is known of the artist’s state at the time..

Such conjecture aside, the work also boasts a singular provenance. Passed from private collector to private collector, it toured the world several times over before famously being stolen and vanishing for several years. Once recovered, it eventually found its way to Sotheby’s in New York, where it formed part of the auctioneer’s recent Impressionist and Modern Art Evening Sale, selling for a more than respectable US$16 million.

Old times table

Classic Furniture from Qianlong Ago…

As an essential part of the daily life of well-to-do Chinese folk of times classic, the traditional furniture of the Ming and Qing periods, in particular, harks back tellingly to the everyday routines its long-dead owners. A clear case in point is the rare and magnificent ancient Chinese Carved Zitan Hexagonal Table (from the Qianlong period), which was one of most admired lots at Christie’s Inspiring the Mind – The Life of a Scholar-Official auction, where it finally went under the hammer for an impressive HK$20.7 million.

Fashioned from zitan, a particularly fine and rare hardwood timber, this striking hexagonal table – a complicated structure requiring superior artistic skills to execute – possibly saw service in one of the emperor’s own palaces or temples. In terms of design, its tabletop features six sides above a shallow waist and is decorated throughout with floral carvings and scroll-form vines. There is also a ‘secret’ drawer featuring a metal ring at its heart, a hint that not only was this item of furniture created and carved by master carpenters, but one that was built to meet the specific requirements of some nobleman of the time who was not over-trusting of his compatriots and peers.

Renowned local artist Michael Lam on his HSBC Rainbow Lions statues and more…

Renowned for his groundbreaking surrealist artwork and being the mastermind behind HSBC’s “Rainbow Lions” statues, Hong Kong-based artist Michael Lam is not only one of the city’s brightest artists, but is also among its leading crusaders for LGBTQ rights.

Can you give us a glimpse of your childhood?

I grew up in rather straitened circumstances and didn’t have the easiest upbringing. My family ran a food hawker business in Hong Kong when I was a kid and I would get up at 5 o’clock every morning to help him set up for the day before heading off to school. After class, I would be back helping my parents pretty much every day.

How influenced were you by your subsequent education?

I attended local schools and never actually took any art courses or pursued a university degree. I’m very much a self-trained artist, with everything I’ve accomplished coming from research and personal experience. I feel that being educated in the arts – while a worthy pursuit for people looking to understand its history or hoping to take up a career in art procurement or something similar – would have hindered my own spiritual growth and artistic endeavours. Over the course of my career, my works have undeniably evolved and shifted. This, though, is a reflection of my personal journey rather than being down to the impact of other artists on my style.

Do you see yourself as having always been destined for an artistic career?

Well, I was interested in art and design from early age. In fact, I originally dreamt of becoming a designer. Later I discovered that came with many restrictions and the need to stick to particular guidelines, something I believed would only hamper my creative vision. Ultimately, I chose to immerse myself in the field of fine art field, which allowed me to focus solely on bringing my artistic designs to life. I didn’t jump right into an art career though. In fact. prior to becoming a full-time artist, I worked in sales as well as in product merchandising. It wasn’t until after the SARS outbreak, around 2003, that I decided to take the plunge.

Where do you find inspiration?

It comes, largely, from my subconscious. I use colours and ink to transform my mind’s fantasy world into surreal works of art.

How would you describe your artistic style?

My creations are mainly abstract in concept and feel, tending to combine Chinese calligraphy and art to create truly surrealist works. In this, I was hugely influenced by the works of the renowned Spanish artist Salvador Dali, having long been very attracted to the bizarre yet striking images that characterise his art.

“I use colours and ink to transform my mind’s fantasy world into surreal works of art”

What are your proudest accomplishments to date?

I’m honestly blown away by the great reception any of my pieces have garnered. Of all my works, though, I’d say I’m proudest of two in particular. The first is my role in the rebranding of Cathay Pacific’s inflight magazine, Discovery. It amazes me that my artwork fronts the publication and is seen by people from all across the world. Another highlight for me was being commissioned to create statues for HSBC’s Rainbow Lions campaign. My statues, which I crafted in line with the principles of feng shui, stand as symbols of inclusivity and unity – causes I hold dear to my heart – and have been installed in Hong Kong and in a number of other locations around the world.

What are your current projects and which particularly excite you?

A number of my latest creations are now on show at the Jade Gallery, courtesy of an arrangement made by my agent, Youmei Zhen. Recently, I ‘ve also been undertaking bespoke work on a range of lifestyle accessories, including wine bottle carriers and high fashion items. This has seen me working for clients on an ad hoc basis, allowing me to ensure that each unique statement piece exactly matches an individual purchaser’s tastes.

You are very prominent supporter of the cause of LGBTQ rights in Hong Kong. Where do you see the city ranking on the more global scene in terms of tolerance and enlightened views?

It’s no secret that, while Hong Kong is a diverse society, it’s still somewhat more conservative than many other cosmopolitan cities. At present, the issue of LGBTQ rights still has a certain stigma, with many individuals treated unfairly because of what is perceived as their non-conventional identity, whether that’s at work, socially or even by their own family members.

For me, the best way to improve this situation is to encourage everyone – no matter who they are – to educate themselves with regard to LGBTQ culture. This is the only way they will gain a more inclusive and diversified mind frame that will, in turn, lead to an end to pre-conceived notions and discrimination at every level.

You are also known for donating works of art to various charities…

Yes, despite that, I don’t really see myself as a philanthropist, partly because I’m not wealthy enough to qualify for such a title. Essentially, I’m an ordinary artist who feels a need to give back to society. I feel that there are many people in Hong Kong who require help, as well as many causes that are deserving of extra support. Within my current capabilities, I do my part to give back to society by donating artworks and raising funds for various causes.

How do you choose which charities to support?

I’m always open to helping whichever organisation approaches me, as long as they’re doing something worthwhile. In terms of causes I personally hold dear, obviously anything related to ensuring LGBTQ equality or enhancing the rights of sexual minorities has a particular appeal – that’s why crafting the Rainbow Lions for HSBC meant so much to me.

Given that my family has suffered hugely on account of cancer – and I had personal experience of battling the disease a decade ago – supporting related research, as well as the provision of proactive care for patients, is another cause close to my heart. As is AIDS research, something else I’ve been involved with fundraising for.

Away from all that, what do you like to do with your free time?

To be honest, while I occasionally like hanging out with friends, I’m not a very social person by any stretch of the imagination. I find, for me, one of the most relaxing things is to just sit by myself, tucked away in the corner of a hotel bar, watching people interacting around me.

If you could meet any person, past or present, who would it be and why?

If I could go back in time, I would love to meet my mother and grandmother again. They were such an integral part of my upbringing and played key roles in shaping the person I am today. I miss them a lot and treasure the great advice they gave me on how to behave in life.

Finally, what’s left on your personal bucket list?

I really want to open a foundation geared to supporting the elderly in Hong Kong, particularly those with serious health conditions. I feel that, despite the government’s best efforts, the city still doesn’t have the infrastructure to help the most vulnerable members of our society. Given my own experience of my mother’s battle with cancer, I want to do everything I can to ensure older people have the support and care they need.

Thank you.

Interview by: Tenzing Thondup

Photos: Jack Law

Art Direction & Styling: Jhoshwa Ledesma

Wardrobe: SPY Henry Lau

Venue: Jade Gallery Company

New Sun Museum exhibitions showcase works by Liu Cheng Mui and Dickson Yewn

Sun Museum Presents Liu Cheng Mui and Dickson Yewn gafencu magazine — Image courtesy of Sun Museum

Dedicated to promoting a wider understanding of Chinese arts and culture, Sun Museum is housed on the fourth floor of the SML Tower along the Kwun Tong harbourfront. Established as a non-profit institution by the Simon Suen Foundation, it’s latest initiative is a joint exhibition. One half is titled Scenic Romance, showcasing the works of renowned local female painter Liu Cheng Mui, while the other, Slowness, spotlights photographs taken by famed jewellery designer Dickson Yewn.

Sun Museum Presents Liu Cheng Mui and Dickson Yewn passage of time blue — Passage of Time: Blue by Liu Cheng Mui

Scenic Romance by Liu Cheung Mui comprises a collection of over 40 paintings and sketches, with oil paintings serving as the main artistic medium. After a decade-long break from painting, Mui returned with a burst of creativity in 2008, resulting in a great number of artworks, several of which showcased at the exhibition. Through her distinctive use of colours and brushstrokes, familiar forms of life such as the human body and animals are transformed into figurative illustrations of expressive emotion, a move that both enlivens her subject matter and elicits the viewer’s empathetic interpretation of the artist’s view on life.

Sun Museum Presents Liu Cheng Mui and Dickson Yewn intimacy — Intimacy by Dickson Yewn

Concurrently, across the opposite side of the gallery, a spread of 60 black-and-white photographs by Dickson Yewn are displayed, with a single Chinese character adorning the below of each printed frame. Embodying a breadth of subject matters, each image is meant to leave the symbolism of each subject up to the viewer’s own interpretation. Although the photographs resemble the aesthetics of ink paintings, all 60 images were surprisingly captured by an Iphone 4 and an Iphone 5 over the span of a decade. Being a fan of platinum print, Yewn opted to use a monochromatic filter, focusing on the lines and compositions of each subject without the distraction of decorative elements. The series features numerous scenic spots, historical sites, town villages, gardens and buildings across China.

This exciting new exhibition is on show until 11 February 2021. For more information visit sunmuseum.org.hk.

Sun Museum Presents Liu Cheng Mui and Dickson Yewn with chloe and simon suen — (From right to left) Ms. Chloe Suen, Chair of Simon Suen Foundation, Ms. Liu Cheng Mui, Mr. Dickson Yewn and Mr. Yeung Chun Tong, Director of Sun Museum.

Art as language: How nature and life helped form the Chinese language

Drawing inspiration from nature and everyday objects, like the flow of water, pictographs formed the interesting origins of the Chinese written language.

Chinese is one of the world’s oldest written languages, but before its written characters were invented, ropes and symbols were used to count and tell stories. As China’s society became more complex, the need for efficient communication ushered the use of written script, which was also known as Hanzi (漢字). Though many other ancient languages faded as modern civilisation grew, the Chinese language intriguingly continued to evolve, and it has emerged as one of the most widely recognised written scripts in the world.

Origin of Chinese characters

Writing initially began with pictographs that symbolise and help describe nature, objects and life. Its initial form was a beautiful and appropriate representation of reality. Cases in point are the words Sun (日) and Moon (月).

The formation of Chinese characters

Characters were formed according to a set of rules established by ancient scholars. Characters were classified into six categories: pictographs, ideograms, compound ideographs, as well as phonetic loan, phono-semantic compound and derivative characters. Explaining ideas and concepts, for instance, entails the combination of two or more characters to form a new meaning.

The evolution of Chinese Characters

Written characters, known today as simplified and traditional characters, originated from ancient Oracle bone script. The Oracle bone script inscribed on animal bones and tortoise shells evolved into different forms of writing throughout the centuries as society grew more sophisticated and ideas became more complex. The written language gradually developed from complicated drawings into simple strokes as a means to standardise and simplify for easier writing.

Art as a language How nature and life formed the Chinese language evolution chinese calligraphy by Yun Hai Fa Shi — Chinese calligraphy by Yun Hai Fa Shi

Chinese as an art form

The ancient writing undoubtedly grew from drawings to form logic and purpose, but aside from serving as a language, it also functioned as an art form. Calligraphy was highly regarded as fine art long before painting was associated with calligraphy and it was valued more than many other forms of art. Interestingly enough, Chinese written in brush strokes uniquely convey the artist’s mind in the form of rhythm, movement and flow and can be observed by anyone without the ability to read the characters.

This explains why Chinese characters are admired across the world as art, whether it is ink on paper, neon signs suspended on old buildings across the city, or even ink on skin, like in the case of the growing trend of Chinese characters used as symbolic tattoos. How ancient glyphs were inspired by nature and life as a means to visually reproduce reality has more association to the meaning of art than any other language.

Indian Modernist V.S. Gaitonde Makes History

Untitled 1974 (sold at auction for US$4.5m)
V.S. GAITONDE (1924-2001)
Oil on canvas
60 x 40 inches (152.5 x 101.6 cm.)
Signed and dated in Devanagari and further signed and dated ‘V.S. GAITONDE 1974’ on
reverse

A luminous canvas by the legendary Indian painter Vasudeo Santu Gaitonde went under the hammer for a staggering US$4.5m (Rs32cr) at Mumbai auction house Pundole’s in September 2020. The oil painting, Untitled (1974) came from the esteemed collection of the Japanese fish baron Masanori Fukuoka who owns the Glenbarra Museum, Japan. Smashing Gaitonde’s previous record, the painting set a new world record for Indian art.

Gaitonde—who passed away in 2001—has achieved near mythic status in the Indian art world. One of the country’s greatest abstract painters, Gaitonde was fascinated with Zen Buddhist philosophy, ancient calligraphy and Japanese pictorial motifs. These interests come to the fore in his work. Powerful and primal, the 1974 painting is suffused with diaphanous bands of colour upon which a series of mysterious geometric, linear shapes rest.

His technique was laborious; he built up paint in thin layers with a roller, then once dried, he would carefully scrape it off in areas using a palette knife. To create abstract forms, he would press torn pieces of newsprint into the wet paint and then lift them away. He added bits of cloth saturated with pigment, leaving them on the canvas for an impasto-like texture. The canvas, Untitled (1995), a work in private hands in Hong Kong, is a particularly striking example of the refinement and subtlety this technique yielded.

Untitled 1995 (with a Hong Kong collector)
V.S. GAITONDE (1924–2001)
Oil on canvas
62 x 41.5 inches (157.5 x 105.4 cm)
Signed and dated ‘V.S. GAITONDE 95’ on reverse

While Gaitonde’s oeuvre remains unrivalled in South Asian art history, like many other non-Western artists of his generation he has only recently gained international acclaim. His break-through moment came in 2014 when the Solomon R. Guggenheim Museum in New York held a retrospective of his work, in which Untitled (1974) was featured.

A deep thinker, Gaitonde is known for spending a great deal of time formulating paintings in his mind and allowing ideas to gestate. It comes as no surprise that he finished few canvases in his lifetime making the record-breaking painting an exceptionally rare find.

For more information, contact innervisionartwork@gmail.com.

A taste for the extraordinary: Rare valuables that fetched record prices at major fall auctions

Extremely rare and extraordinary valuables, including a Qing dynasty moon flask and an exquisite French wine collection of tycoon Joseph Lau, drew a strong response from collectors and fetched record prices at auctions held in Fall by Christie’s and Sotheby’s.

A rare rose moonflask

A Qing dynasty antique draws top bids.

Among finest art pieces to hit the auction block in recent memory, the rare and exceptional small pink-ground Famille Rose Moonflask fetched a price of HK$4 million at Christie’s Pavilion Sale Chinese Ceramics and Works of Art, surpassing by a significant margin its HK$3.5 million pre-sale estimate.

The rare antique has enjoyed a long provenance, underscored by its iron-red four-character seal mark signed by the Qianlong Emperor (1735-1796) during the Qing dynasty, who was reputedly one of China’s foremost art collectors. The six-inch-tall flask is a truly finely-potted item. Its incised rose pink ground is decorated with floral scrolls, known as “flower brocade design”, which is said to be unique to the reign of the sixth Qing emperor. While many earlier designs were simply painted on a white background, the moon flask’s floral designs were set against a soft rose-pink background.

Another impressive item that highlighted that same auction was a pair of green-enamelled and iron red-decorated Peach Blossom Jardinieres a piece dating back to Emperor Kangxi’s reign (1661-1722). The rare item was sold for HK$2.1 million, more than eight times the pre-sale estimate.

A flawless diamond

A rare jewel breaks online auction

In a series of exceptional jewellery sales this fall, international auction house Sotheby’s amassed an impressive HK$426 million in revenue, boosted in no small measure by the disposal of the highly-sought-after 102.39-carat D colour Flawless Oval Diamond, which went under the hammer for an astounding HK$121.6 million at its Hong Kong Jewellery Autumn Sales on October 7.

The first world-class diamond ever to be auctioned without any reserve price, the rare gemstone fuelled a frenetic and exciting flurry of bids that rapidly zoomed up to gargantuan final price. It broke also the HK$85 million record previously for the most expensive jewellery auctioned online. The winning bidder was a Japanese national who quickly nicknamed the jewel as “Maiko Star” after his second daughter. Last summer, another Japanese man bought an 88.22-carat oval diamond for US$13.8 million, naming it “Manami Star” for his two girls.

Two days after the sale of the 102.39-carat diamond, the auction house sold an Imperial Green Jadeite Bead and Diamond Necklace for a price of HK$63 million. That particular transaction also helped bring Sotheby’s total jewellery sales revenue for the season to an impressive tally of HK$426 million.

Vintage Romanee-Conti

French fine wines lure oenophiles

A number of sensational wines from the cellar of tycoon Joseph Lau commanded premium prices during a two-day auction in Hong Kong on October 3. The fine wines extravaganza grossed HK$53 million, more than double the pre-sale estimate of HK$25.7 million. Lau’s collection enticed fellow oenophiles, all drawn by his 38-year reputation for collecting and keeping the finest French wines.

The sale was highlighted by the offer of 12 bottles of Domaine de la Romanée-Conti 1990 – made by one of the world’s most sought-after winemakers – which fetched a final price of HK$3.8 million.

Wine connoisseurs also displayed keen interest in iconic vinos of impeccable provenance from the Five-Star Cellar, which were highlighted by top-notch Bordeaux and Burgundy wines that were purchased on the original date of their release. They remained in professional storage in Britain until last month, when they made their way to the auction block. The collection, which was comprised of 172 items, generated a collective revenue of HK$97.8 million.