Zsanett Ritli

Appraisal and Valuation of Art

Attending a private tour for the Asian Art Week at Christie’s last week was a unique and truly

inspiring experience. For this research report, I selected lot 860 from the Important Chinese

Ceramics and Works of Art auction at Christie’s, which is „a very rare large and superbly

carved imperial red lacquer cover” from the Qianlong period, dated 1775, the year of Yiwei.

The Qianlong period (1736-1795) of the Qing dynasty is recognized as a pinnacle of artistic

achievement in Chinese history, marked by luxurious craftsmanship, imperial patronage, and

cultural synthesis. This era witnessed the flourishing of various traditional arts, with emphasis

on objects created for the imperial court. This essay will examine this particular lacquer object

from this period, analyzing its historical context, craftsmanship, and significance in both art

history and the modern art market.

1. Figure: A very rare large and superbly carved imperial red lacquer cover from the Qianlong period, dated to
1775; lot 860 from the Important Chinese Ceramics and Works of Art auction at Christie’s

Emperor Qianlong has often been claimed as ‘the greatest patron of the arts in China since

late medieval times’ and ‘the last of the great imperial art collectors and patrons in Chinese

history’. The emperor was a great connoisseur and collector of art, which led to the

enhancement of traditional crafts like porcelain, lacquerware, jade carving, and textiles. Qing
emperors believed that everything in the universe belonged to them and they went to all

lengths to gather objects to enrich the so-called imperial collection (Chian 2019, pp.6). The

assemblage of objects by the Qing imperial household is one of the most impressive cultural

activities in Chinese history, consisting of more than one million objects (Chiang 2019, pp1).

The imperial collection can be divided into two categories: works made in his imperial

workshops, and works he acquired, including objects coming from inheritance, tributes,

presents, and confiscations. Another way to classify them is by objects of daily use, objects

enjoyed by the emperor only and objects to give away as gifts (Chiang 2019, pp.7). The

Qianlong emperor’s desire to legitimize his rule and project his power through art led to the

fusion of Chinese and European pictorial techniques, as well as the reproduction of earlier

styles (Bellemare 2023). For instance, the design of the Treasure Box of Eternal Spring and

Longevity originated under the patronage of the Ming dynasty, but later the Qianlong emperor

ordered his artisans to copy the design and make boxes for presenting food or other

ceremonial gifts. The Qianlong Palace commissioned several boxes of different sizes and

shapes with the same design. From the size and quality of this particular object, we can

assume that it was an object made in his imperial workshop in Beijing and was used by the

emperor or presented as a gift (National Museum of Asian Art, 2021).

2. Figure: Treasure Box of Eternal Spring and Longevity, Qing dynasty, Qianlong reign, 1736–95, carved red,
green, and yellow lacquer on wood core, China, 16.5 x 44 x 44 cm (Freer Gallery of Art, Smithsonian
Institution, Washington, DC: Purchase — Charles Lang Fre)
The artwork in question is a superbly carved red lacquerware piece, featuring auspicious

motifs, such as dragons and clouds, which were common in imperial art and symbolized the

emperor’s supreme power. The carvings are executed with remarkable precision, showcasing

dynamic forms and fluid lines that bring the imagery to life. The special technique used to

create this piece involves coating a wooden core with up to 200 layers of lacquer, each

carefully applied and dried before the next is added. This technique required not only

immense skill but also significant time and resources, making such objects highly valuable.

Once the lacquer reached the desired thickness, artisans would carve the surface into intricate

designs according to the emperor’s preference (National Museum of Asian Art, 2021). The

emperor left very little room for artisans to express their artistic visions and he oversaw every

step of the production of such artworks (Chiang 2019, pp.12). For this reason, specific artists'

names are rarely documented, as works were often produced collectively and anonymously to

further honor the emperor’s power and taste (Bellemare 2023). Imperial red, the dominant

color in this artwork, carries deep cultural and symbolic meanings in Chinese art. It is

associated with good fortune, power, prosperity, and joy, making it a favored color for objects

intended for ceremonial use or to honor the emperor. The choice of red in Qianlong period

artworks also speaks to the broader cultural values of the time, where color was used not just

aesthetically but to convey messages of power (Zhou 2018, pp. 63). The association of red

with the emperor himself imbues this artwork with a sense of exclusivity and prestige, further

enhancing its value both historically and in the modern market.

Artworks from the Qianlong period asre highly sought after in the modern art market due to

their imperial associations, refined craftsmanship, and historical significance. In recent years,

Qianlong period objects have achieved record-breaking prices at auction, driven by their

provenance and the continued fascination with Chinese imperial art. Notable sales include a
rare imperial Yangcai Craine and Deer Ruyi vase, which sold for over €16 million at

Sotheby's in Paris in 2018 (Sotheby’s, 2018), and a Khotan Green green jade imperial seal,

which was realized way above its high estimate for $2.3 million at Sotheby’s Paris in 2022

(Wong 2022). The demand for Qianlong period art is remarkable, however, these artworks

also face competition in the market, with certain Song and Ming dynasty works occasionally

surpassing them due to their older heritage and rarity.

3. Figure: A fine and magnificent Imperial ‘Yangcai Crane- and- Deer Ruyi Vase’, six-character iron red
Qianlong seal-mark

The lacquer object was sold for USD 94,500, exceeding its estimate of USD 60,000 – 80,000.

This trend is consistent with other Qianlong period artworks, as shown in Christie's previous

auction results. Similar pieces from this period have successfully sold, most of the time above

their high estimates, demonstrating strong demand and appreciation for Qianlong lacquerware

(Christie's 2024). Christie's prominence as one of the largest and most esteemed auction
houses globally adds a layer of prestige and credibility. Collectors often view objects sold

through Christie's as benchmarks of quality, reinforcing the desirability of Qianlong artworks

and ensuring high sales prices. The provenance of this piece, which traces back to the

collection of Friedrich Adolf Wellenkamp, further justifies its high sale price (Christie's 2024).

Unfortunately, I couldn’t find a lot of information on the collector, however, we can assume

that the object’s journey from imperial workshops to a Western collector’s hands highlights

the global fascination with Qing dynasty art and the historical narratives that such objects

carry. Rarity, as Tom McNulty suggests, adds further value to the artworks that reinforce high

sales prices (McNulty, 2013). Despite the fluctuations in the Asian art market in recent years,

the market for Qianlong period artworks remains robust, reflecting the long-term investment

value and cultural significance attributed to these objects. Collectors continue to place a

premium on works with imperial connections, viewing them not only as art but as pieces of

history that embody the grandeur and authority of the Qing dynasty. This trend also reflects

the broader dynamics of the Asian art market, where imperial objects continue to captivate

buyers (Jianping 2024).

This lacquer object from the Qianlong period captivated me not only because of its impressive

craftsmanship but also because of its rich cultural and historical significance. It is more than

just an object of financial value—it embodies the grandeur of an era where art was a symbol

of imperial power and cultural prestige. The meticulous carving, imperial red lacquer, and

auspicious motifs reflect the emperor’s vision and the artistic excellence of the time. Holding

this object connects us to the history and cultural legacy of the Qing dynasty, making it not

only a valuable piece but a testament to the enduring influence of Chinese imperial art. For

me, this artwork is a beautiful intersection of art, history, and culture, preserving the stories

and values of a distant past that still resonates today.

Bellemare, Julie, Federico Carò, and Karen Stamm. "Persimmon and Peonies: Orange-
Colored Glass and Enamels from the Qing Imperial Workshops." Metropolitan Museum
Journal 58, no. 1 (2023): 96–106.

Christie's. “Lot 6494804: A Rare Imperial Green-Glazed 'Chilong' Vase, Qianlong Seal Mark
and Period.” Accessed September 25, 2024. https://www.christies.com/en/lot/lot-6494804.

Chiang, Nicole T. C. Emperor Qianlong's Hidden Treasures: Reconsidering the Collection of

Jianping, Mei. "The Long-Term Investment Value of the Chinese Art Market." Campden FB,
July 23, 2024. https://www.campdenfb.com/article/the-long-term-investment-value-of-the-
chinese-art-market.

McNulty, Tom. Art Market Research: A Guide to Methods and Sources, 2d ed. Jefferson, NC:
McFarland & Company, Incorporated Publishers, 2013. ProQuest Ebook Central.
https://ebookcentral.proquest.com/lib/nyulibrary-ebooks/detail.action?docID=1579755.

National Museum of Asian Art, Smithsonian Institution. "Lacquer Box Decorated with
Images of Spring and Longevity." In Smarthistory, July 6, 2021.
https://smarthistory.org/lacquer-box-spring-longevity/.

Sotheby’s. "The $16.2 Million Chinese Vase Discovered in an Attic." May 23, 2018.
https://www.sothebys.com/en/articles/the-16-2-million-chinese-vase-discovered-in-an-attic.

Wong, Kayan. "Sotheby’s Paris Auction: Spring 2022 Asian Art Sale Sees Remarkable
Results for Qianlong Jade Seal." The Value, June 17, 2022.
https://en.thevalue.com/articles/sothebys-paris-auction-asia-art-2022-spring-jade-qianlong-
result.

Zhou, Jun, and Gail Taylor. The Language of Color in China. Newcastle upon Tyne:
Cambridge Scholars Publishing, 2018.