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拍賣筆記 vol.48 回顧:蘇富比坂本五郎、秦峰男、翦淞閣專場隨筆 - Notes on Sakamoto, Hata and Jiansongge Sale



三場加起來是1.2億港元的成交,考慮到蘇富比之前已經做過一個小聽風樓的專場,未來在11月26日又要舉辦拍賣的頻率,綜合當下的經濟環境來看,應該是頗為理想的成績。


坂本五郎先生聲名遠揚海外,在中國多次舉辦專場,已備受海內外藏家關注,在日本本地的名氣也比秦峰男先生要大,此次的專場氣氛也十分熱烈踴躍。一方面是以上提及的名聲和信用度的廣為人知,更重要的是這次拍賣的估價定價,是一個比較有誘惑力的價格。


在經濟情況並不是十分理想的大環境下,藏家並不是沒有購買的能力和積蓄,更多的是一種信心和動力的缺失。低估價,不僅可以吸引關注,也可以讓大家輕鬆參與。拍賣的氣氛踴躍的情況下,信心便油然而生。當然這也是坂本五郎先生最後的一批存貨之一,怎麼賣,賣了多少錢,也沒有了負擔,因此也可以放手一搏,反而取得很好的效果。低估價,是否是喚起藏家慾望的一個誘因,這是值得深思的一個方向。


秦峰男先生的專場,估價較高,特別是封面的大漆鑲嵌螺鈿的巨作,在這樣的經濟環境下是有挑戰性的。大漆這個門類,由於較難保存,品項完好較多保存在日本。整體對大漆的認識,也較為缺失,這也直接導致了中國藏家的判斷系統並不同意,此件有頗多無謂的爭議,無論是從年代、產地等,都有不同的群體發表了太多模凌兩可的意見。這是一件毫無疑問偉大的藝術品,而可惜,在用耳朵購買的當下,眾口難調,也不利於價格的發揮。


拍賣行固然是一個學習的好地方,但假如長期無意購買,卻又霸佔著上手的位置不放,或藉由拍賣預展來拓展人際關係,或為獲得存在感,甚至發表言論意圖干擾拍賣的結果,實非君子所為,這樣的“客人”不在少數。正如蘇軾《答謝民師》卷中所言:“紛紛多言,豈能有益於左右,愧悚不已“ ,中國收藏家的認知和輿論,也反應了這個時代的水平,此次拍賣也是這個水平很好的真實寫照。不管如何,此次的大漆盒流拍,或多或少受到了以上提及因素的影響。


坂本五郎先生專場亮點拍品


唐代白釉萬年罐,長期被低估,拍出9萬的價格依然是太低。這是未來值得關注的品種,也是一個中國藝術抗衡“月亮罐”的最佳選擇。


The Tang Dynasty white glazed Wannian jar, long undervalued, fetched 90,000HKD this time, still considered undervalued. This is an item of potential in the future, and the best option for Chinese art to counteract the ‘moon jars’ from Korea.


唐白釉萬年罐 — 9萬港幣成交


南宋龍泉窯的貫耳瓶,如文中提及,並不是同類中絕佳之做。假如“價格 = 質量”,那麼這個價格是不錯的;但假如”價格 不等於 質量“那麼,對於藏品的評估還是要客觀踏實,才可能製造國際共識。


由於近期還有同類出土作品等待進入接下來的國內拍賣,此番價格的托高,也可看成是一次助力。


The Longquan kiln vase from the Southern Song dynasty, as mentioned in the previous article, is not one of the best of its kind. If ‘price = quality’, then this price is what makes it great; but if ‘price is not equal to quality’, then the evaluation of the collection should be objective and pragmatic, in order to create an international consensus.


As there are still similar excavated works waiting to enter the next domestic auction, this price increase can also be seen as a boost.


左:本品(28cm);右:故宮博物院(31.5cm)

龍泉瓶 — 1860萬港幣成交


青白瓷梅瓶由於有了上次流拍250萬美金的底價,任何價格都變得可以接受,這件作品實際上是十分精彩的佳作。408萬的價格,非常合適也非常理想,祝賀買家。


With a reserve of $2.5 million USD from a previous unsuccessful auction, any price becomes acceptable for a qingbai porcelain vase, and this is in fact a wonderful work of art. 4.08 million HKD is a very appropriate and desirable price, and the buyer is to be congratulated.


童子梅瓶 — 408萬港幣成交


龍泉堂買入的三彩貼花蓋罐,也反應了唐三彩這種國際品種在目前認知缺失的情況下的窘境,僅僅90萬成交,也祝賀龍泉堂“撿漏”,對於美學上、稀缺性上的判斷,此類話語權深植海外,等待國人未來奪回。


Mayuyama Ryusendo bought the Sancai lid jar, also reflects the status of Tang Sancai in the international market. For a mere 900,000HKD, this rare piece is a bargain.


唐三彩貼塑罐 — 90萬港幣成交


元青花大罐以其亮麗的釉光,完美的呈現,震撼的體量深得人心。元明清,與高古本不是兩派,而審美的回歸,也是勢在必行,此件作品紋樣難得,傳承可靠,是絕佳的藝術品。


The Yuan blue and white large jar is deeply appreciated for its bright glaze, perfect presentation and shocking volume. The Yuan, Ming and Qing dynasties are enemies of Earlier wares, and the return of aesthetics is inevitable. This piece is a rare pattern and a reliable legacy, making it an excellent work of art.


元青花大罐 — 2760萬港幣成交


北魏鞏縣的供養天石雕頭像,此番成為70倍估價的暴漲作品,小而可愛,也是鞏縣石窟的重要作品。由於體量較小,並無被追溯的風險。


水野清一、佐藤玄玄的大名加持不少。學習前人的審美,一直是很重要的環節,傳承並不只是為了“真”,而是一種致敬。能為附加值、goodwill買單的藏家,才有可能走的更遠。

A small but lovely stone head of a sustenance Gong Yang Tian (Apsaras) statue from the Northern Wei dynasty's Gongxian Grotto, which has now become a 70x-estimate work, is also an important piece of work from the Gongxian Grottoes. Due to its small size, there is no risk of it being traced back.


The great names of Seiichi Mizuno and Gengen Sato add a lot to its final price. Learning from the aesthetics of our predecessors has always been important, and provenance is not just about ‘authenticity’, it is a kind of homage. Collectors who can pay for added value and goodwill will be able to stay in the game for longer.


鞏縣石窟 供養天 — 150萬港幣成交


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秦峰男先生專場亮點拍品


建盞並非傳世作品,但拍出高價無可厚非。


白兔固然可愛,但從藝術角度來說,僅是一個玩具,對比唐代的石窟雕塑,繽紛的三彩藝術,這件小品尚不能代表大唐帝國的核心製瓷技術和藝術審美。過高的炒作,已讓其失去了國際共識,價格已無向上空間。


The Jian bowl is not a heirloom piece, but the high price it fetched is not surprising.


The white rabbit is certainly cute, but from an artistic point of view, it is just a toy, compared to the Tang dynasty's grotto sculptures and colourful three-colour art, this small piece is not yet representative of the core porcelain-making techniques and artistic aesthetics of the Tang empire. The excessive speculation has caused it to lose its international consensus, and the price has no room for manoeuvre.


唐白釉兔 — 336萬港幣成交


隋白環足托盤,整體變形,但不妨礙釉色白皙,積釉透亮的美感。對比初期白瓷中出土的作品,此件比例上環足仍不夠細,整體造型依然欠缺挺拔之勢。


由於是深度炒作的品種,此番價格264萬也是一次精彩的護盤。


The overall deformation of the Sui white ring-footed tray does not detract from the beauty of the white glaze and the translucency of the accumulated glaze. Compared to the early white porcelain works, this piece is still not thin enough in proportion to the ring foot, and the overall shape still lacks an uplifted look.


The price of 2,640,000 for this piece is also a brilliant show of saving the Sui Bai, as it is a deeply speculated variety.


隋-初唐三環足托盤 — 264萬港幣成交


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黃玄龍先生翦淞閣專場


封面是“祥龍角”,此次由場內小朋友264萬港元舉牌投得,也反應了中國藏家以石頭的品德教育後代的決心,此番乃可傳為佳話。祥龍角為黑太湖,北宋時已開採枯竭,宋徽宗的至愛石種。


On the cover is ‘Dragon Horn’, a HK$2.64 million Song Dynasty Taihu rock bid by a very young, teenage gentleman in the audience, reflecting the determination of Chinese collectors to educate future generations in the virtues of the stone, and a story to be told. The Black Taihu Lake, a favourite stone of Emperor Huizong of the Song Dynasty, was already depleted by the time of the Northern Song Dynasty.



禪椅3400萬抱憾流拍,這也是拍賣前較為擔心的結果。場地內的燈光,對雕塑來說是完美,但在呈現這件作品的時候,卻有一種“不如照片”的感受,相信也影響了成交。


二來,本次蘇富比的主席nicolas chow缺席現場,向來魅力四射的他的缺陣,在宣傳上也會失色不少。塞翁失馬,焉知非福⋯ 此番未能成交,也未必是壞事。


The Zen Chair was regrettably unsold at $34 million, which was also the result that most people worried before the auction. The lighting in the venue was perfect for the sculpture, but for furnitures, there was a feeling that it was not as good as the photograph, which could affected the sale.


Secondly, Sotheby's chairman Nicolas Chow was absent from the show, being always a charismatic figure, would have been a major setback in the publicity. For the owner, It's not necessarily a bad thing that the sale didn't go through.



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Notes on Sakamoto, Hata and Jiansongge Sale


The three sales added up to a total of HK$120 million, which, considering that Sotheby's had already held a previous Xiaotingfenglou (Listening to the Wind House) sale in early Oct 2024, and the frequency of future auctions to be held on 26th November, should be a rather satisfactory result in the light of the current economic environment.


Mr Sakamoto Goro's reputation has spread far and wide overseas, and he has held many special exhibitions in China, which has attracted the attention of collectors at home and abroad, and his local reputation in Japan is also greater than that of Mr Chin Fung-nam's, and the atmosphere of this special exhibition is also very enthusiastic and enthusiastic. On the one hand, it was because of the reputation and credibility mentioned above, but more importantly, it was also because of the pricing of the auction, which was a relatively attractive price.


In the not-so-ideal economic climate, collectors do not lack the ability and savings to buy, but more of a lack of confidence and motivation. A low estimate not only attracts attention, but also makes it easy for people to participate. When the atmosphere at auctions is enthusiastic, confidence is born. Of course, this is also one of Mr Sakamoto Goro's last batch of inventory, so there is no longer a burden of how to sell it and how much it will fetch, selling basically without reserve, which has achieved very good results. Whether the low valuation is an incentive to arouse collectors' desire is a direction worth pondering.


The relatively high estimate for Mr Hata's sale, especially for the lacquer inlaid mother-of-pearl masterpiece on the front cover, is challenging in this economic climate. Lacquer is a category that is difficult to preserve, and the most intact and well preserved items are found in Japan. The lack of knowledge of lacquer in general has directly led to a disagreement in the judgement system of Chinese collectors, and this piece has been the subject of a number of unnecessary controversies, with different groups expressing too many ambiguous views on the age and origin of the bottle. This is undoubtedly a great work of art, and unfortunately, at a time when buying with one's ears is a difficult task, it is not conducive to the realisation of prices.


Auction houses are certainly a good place to learn, but if one has no intention of buying for a long time, but still occupies the position of the handling table, or uses auction previews to expand interpersonal relationships, or to gain a sense of presence, or even makes comments with the intention of interfering with the outcome of the auction, one is not a gentleman, and there are a few of such ‘guests’. As Su Shi said in the volume of ‘Reply to Xie Minshi’, ‘How can one benefit from too many casual chitchat, I am ashamed to say that I am creeped out’, and the awareness and opinions of Chinese collectors also reflect the level of this era, and this auction is also a good true reflection of this level. In any case, the BI of this large lacquer box was more or less affected by the factors mentioned above.

專場成交細節紀錄參考:



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