Unusual Chinese art image 20 United China Relief

United China Relief ed

A striking United China Relief poster by illustrator Martha Sawyers (1902-88). She was a US Army correspondent in Asia for Life magazine. During the 1930s she lived and painted in Beijing until the Japanese invaded. From there, she escaped to Shanghai, returning to the US in 1937.

United China Relief sought to improve the image of China in the US as the two countries came into alliance together before the Second World War. Many US artists were engaged to present a rather more sympathetic view of the Chinese than had been prevalent in the US up to that time. Posters tended to portray the Chinese as brave and resilient people and used powerful imagery of refugees and fighters.

This poster is in the collection of The University of North Texas Library.

Record hits and visits recorded for ChineseArt.co.uk

A record number of hits and visits have been recorded for ChineseArt.co.uk, after just six months in operation.

Figures just released show that the website ChineseArt.co.uk, founded in September 2013, as a source of news and views relating to the market for Chinese art in the UK, achieved record viewing figures in March 2014.

After just six months in business,  the site got 284,631 hits and 9,690 visitors during the month of March.  Some of the increased activity on the site came as a result of the editorial decision to cover the downing of the Malaysian airlines flight, which saw the disappearance of a party of top Chinese artists. The site’s coverage was extensively re-blogged on Twitter. (All new postings are automatically notified on Twitter).

The audience has been built up from zero by owner Paul Harris, who bought the name, ChineseArt.co.uk, when it came up for sale in the middle of 2013. He can be contacted either by email, paul@chineseart.co.uk , or on Twitter, @chineseartpaul. The ChineseArtUK app will shortly be made available.

Sister sites include www.vietnamart.co.uk , www.chineseartinscotland.co.uk  and www.coldinghamgallery.co.uk . All are part of Paul Harris Asia Arts.

Desire broadens in the Chinese art market

opinion hl

Not only does the market remain firm this year, contrary to gloomy predictions of a slump, but also there is increasing evidence of a distinct broadening in the market. By this, we mean that whole areas of new collecting are opening up and that objects once regarded as ‘too academic’, or simply obscure, are becoming the subject of some furious competitive bidding at auction. To a large extent, auctions continue to lead the market: the only public forum for the noting and recording of prices internationally.

It was not so long ago, back in 2012, that good pieces of blue and white were favoured by the market and there were some record prices achieved, both in London and in some provincial salerooms like Tennants in Leyburn, Yorkshire. Now that the supply of high quality pieces of blue and white new to the market is drying up, with only a handful of previously unseen items appearing, the seemingly insatiable appetite, principally from mainland China, for interesting items is broadening into areas hitherto hardly considered for collecting.

A case in point was a Quianlong mark and period hat or wig stand which achieved a stunning £444,240 at Cambridge auctioneers Cheffins on March 27. It is 27cm. high and incorporates what the auctioneers say is ‘a rare gilt café au lait ground together with panels glazed to imitate turquoise’. Not the real thing, you understand. It is intriguingly constructed and reasonably attractive, but you can understand why it was estimated simply at £10,000-20,000. After all, there is not a great history of collecting such obscure objects and until last month they did not appear to be particularly coveted.

Quianlong hat and wig standNearly half a million quid: Quianlong hat or wig stand

In the future, we are sure that there will be more of this type of ‘surprise result’. Auctioneers are realising that a good story may intrigue potential buyers of unusual objects and achieve gratifyingly high prices. On May 15, Bonhams are to sell two highly unusual things: an enormous, quite possibly Imperial, screen and an unusual jade puzzle. The price either will achieve is really anybody’s guess – Bonhams have estimated up to £1.2m. on the screen and are talking about a quarter of a million for the intriguing jade puzzle. Really this is all new territory. Estimates are all very well if the buyers can be tempted into competition and, as we all know, it only takes two bidders so you don’t have to exactly generate worldwide interest . . .

The antiques guru on Hong Kong’s Phoenix TV (accessible in Europe via Freesat) recently singled out Northern and Southern Song pieces as the next big growth area and we recently bid up to £8,000 for a nice piece of purple-splashed jun ware with good provenance, and then let it go to a Chinese buyer on the internet. A few years ago, 5-800 would have been more than adequate to obtain such a piece.

So there are going to be some big prices in the near future for the more unusual items, previously unfavoured. Of course, there may be some disappointments along the road as not been read, or predicted, accurately enough.

Bonhams to sell enormous Imperial Chinese Immortals screen

Lot 88 Chinese screenED 

An outstanding Imperial Chinese twelve-leaf screen comprising 64 magnificent porcelain panels depicting tales from Chinese mythology, which may well have graced an Imperial throne room, will be sold at Bonhams Fine Chinese Art sale in London on May 15.

Bonhams estimate it to sell for £800,000 to £1.2m. The immortals are characters from Chinese mythology who symbolize, amongst other things, good fortune and longevity.

In the Imperial halls, such screens were often used as backdrops to thrones, reinforcing the Imperial eminence and stature behind the throne. No cost was spared in their production, using precious materials generously, such as zitan and huanghuali woods, cinnabar lacquer, gilt on black lacquer and embellishments with porcelain panels, hardstones, and cloisonné and painted enamels.

This particular Imperial famille rose and huanghuali twelve-leaf screen is dated to the Jiaqing reign period (1796-1820).

The Qianlong Emperor abdicated his throne in 1796 out of filial respect to his grandfather the Kangxi Emperor, but continued ruling in effect until his death in 1799. Therefore, it is generally recognised that the Imperial taste and demand, as well as the zenith of craftsmanship achieved during the Qianlong period (1736-1795), continued well into the subsequent Jiaqing period (1796-1820). The present screen can be ascribed to this group with its peerless quality combining two mediums, huanghuali wood and porcelain panels, attaining an imposing and opulent effect imbued with symbolism.

Panel 2 ED  Panel 1 ED

Each of the twelve leaves is finely carved from huanghuali, framing the porcelain plaques and set within the massive tiered huanghuali dais. Huanghuali wood, one of the most luxurious close-grained sub-tropical hardwood timbers used from the Ming dynasty onwards, was, and still is, highly sought after for its rich yellow-hued grain.

The twelve leaves of the screen are resplendently inset with 64 famille rose porcelain plaques. These are superbly enamelled with mythical imagery of Daoist Immortals, auspicious flowers and birds, laden with puns, rebuses and symbolic significance.

Asaph Hyman, Director of Chinese Art, commented: “The rare screen is a statement of Chinese Imperial art at its zenith demonstrating Qing dynasty master-craftsmanship. As it was made for a Qing Palace, no cost was spared in its production making use of the finest materials and artisan skills”.


Unusual Chinese art image 18 Beijing Girl

Beijing Girl Zhang Xianming

Beijing Girl (2013) by Zhang Xianming Photo Artnet

This striking image of a modern Beijing girl, with her penetrating stare, her pseudo-traditional cap and, the viewer fondly imagines, bare breasts, is an oil on canvas by the well known contemporary Chinese artist Zhang Xianming who has created quite a reputation for his fantasy-based realist portraits of attractive young women. The good news is that this one could be yours to have and to hold . . .

It is currently for sale on the Artnet website (www.artnet.com/auctions). The opening bid is US$8,000 and it carries an estimate of $9,000-12,000. The price doesn’t seem out of the way if you like this sort of image . . .  the Shandong-born artist has exhibited internationally in recent years. As his style develops, we are sure his work will turn out to be a good investment. Bidding ends on April 22, so you can’t afford to hang about!

Contemporary Chinese art market trends show through in Sotheby’s April sales


Sotheby’s Contemporary Asian Art Sale on 6 April 2014 featured 230 lots, drawn from Chinese and Japanese artists, and presented work in a wider range of media compared to previous years’: painting, ink, sculpture and photography. This represented a gamble on Sotheby’s part, which, for the main part, resulted in success, but also in some failures. It is possible to draw some conclusions on the trends among collectors of contemporary Chinese art.

Some lots more than doubled their estimates, including a surprisingly high price for Wang Jianwei, and the top sale of the auction for Zhang Enli. But these successes were mixed in with unsold results from Liu Wei and Fang Lijun. However, Chinese contemporary photographers from the Ullens Collection proved popular with young collectors.

The sale achieved a total of USD15,441,827 (HKD120,446,250). This total, which includes the buyer’s premium and all fees, comes in under the previous year’s Contemporary Asian sale, which totalled USD24.9 million (HKD194.5 million), calculated on the same basis.

Zhang Enli, 'Dancing No. 2', 2000, oil on canvas, 215.2 x 147.4 cm. Image courtesy Sotheby's.

Zhang Enli, Dancing No. 2, 2000, oil on canvas, 215.2 x 147.4 cm.                               Just under $1m. Photo courtesy Sotheby’s

The Results: top 10 estimated lots

Sotheby's 2014 top ten

The first half of the sale was a persistent struggle between in-room and on-the-phone bids, as pieces from established Chinese artists were auctioned. The highlights were Zhang Enli’s Dancing N°2 (2000) which sold for USD856,228 (HKD6,640,000), buyer’s premium included, close to doubling its estimate and taking the top price of the day. The work, an oil on canvas showing a raucous dance floor from a bird’s eye perspective, is typical of much of Enli’s work. The artist tends to deal with everyday scenes of human life in China, steering away from overt political or pop-cultural posturing.

Zeng Fanzhi’s Landscape (2005) came in second, with a hammer price of USD 701,488 (HKD5,440,000), within its estimate. In third position, Zhang Peili’s X? Series (1987) went under the hammer for USD546,748 (HKD4,240,000), doubling its estimate.

The surprise of the auction came from Wang Jianwei’s Hollow Bricks (1990), which sold for USD345,586 (HKD2,680,000), fetching over HKD2 million more than its estimate. The sale followed a stand-off between an in-room collector who fought against a bidder on the phone. The auctioneer described this moment as “slow and fierce” and applause broke out after the hammer fell.

However, a minority of Chinese artists with high estimate prices did not perform as well as hoped, with many pieces from the same artist unsold. Liu Wei sold only five out of nine lots, the four unsold pieces being two oil paintings, one charcoal and gouache on paper, and one oil on paper. Fang Lijun also came in under expectations, with several oils on paper failing to sell and others fetching under estimate. Both artists sold well in the same sale in 2013, when they were auctioned as part of the Hirsch collection; this year’s results could indicate a recent change in buying tastes.

The contemporary ink section of the auction garnered much attention and active bidding, with all the artworks selling above their price estimates and serving to confirm the current popularity of the genre. Artists Gu Wenda and Qiu Zhijie were once again successful, both doubling their estimates. Zhang Jian’s Landscape Palm (1999), almost tripled its estimate to reach USD77,370 (HKD600,000).

However, Tsang Tsou-Choi (aka The King of Kowloon) stole the spotlight with King’s Maps (Two works (2001-2004), which exceeded its estimate of HKD60,000-80,000, selling for USD72,534 (HKD562,500).

Chinese contemporary photography from the Ullens Collection was greeted with enthusiasm from bidders over the phone, in the room and online, clearly tempted by initially low estimates on most works.

Yang Fudong‘s The First Intellectual (2000), the first lot to be exposed in this section, sold for USD190,846 (HKD1,480,000), well exceeding its estimate by more than HKD1,000,000. Beijing-based artist Wang Qingsong’s work Follow Me sold for the same price, almost triple its estimate.

The strong regional demand for Chinese contemporary art was demonstrated by the large number of East Asian collectors attending the five-day sales. This group were the main lot purchasers during the evening and day auctions held on 5 and 6 April. Bloomberg states that out of the top ten lots, nine were purchased by Asians during the evening sale on 5 April. Clearly, poor economic indicators have not affected the top end of the market at all with the poorest results showing through on rather cheaper works.

The Modern and Contemporary Asian Art evening auction on 5 April brought home some big sales, with Zhang Xiaogang’s Bloodline: Big Family N°3 (1995) selling at USD12,147,090 (HKD94,2 million). Please see our previous report on this sale.


Going, going, gone . . . but where exactly is the $3.7m. painting?

Snowy Mountain, by Cui Ruzhuo, was sold by Poly Auctions this week in Hong Kong for US$ 3.7m. But where is it?

A 28.8 million Hong Kong dollar (US$3.7 million) Chinese ink painting sold at a Hong Kong auction is missing. And the best guess is that it went out with the rubbish . . .

The painting Snowy Mountain by highly rated Chinese contemporary artist Cui Ruzhuo was sold at a Poly Auction event on Monday at the Grand Hyatt Hong Kong. But by the following day, the auctioneers had reported the painting missing to Hong Kong police.

A hotel spokesperson said it allowed police officers to view video footage from its security cameras that monitored the auction area. It is reported in local media that police officers saw video footage of a neatly packaged painting sitting near a pile of hotel rubbish that was later thrown away. Police were reported to be diligently searching a landfill in Hong Kong’s northern district of Tuen Mun for the missing painting.

Poly failed to respond to requests for comment. In a statement two days after the sale, police said the painting was now considered “lost property”. The matter was no longer being treated as theft apparently.

Snowy Mountain was the second most expensive item sold Monday at a special event that featured 28 of Mr. Cui’s ink works. His Landscape in Snow sold for HK$184 million – a record auction price for the artist. Fortunately, it was not lost . . .

Poly is China’s largest auction house and the world’s third-largest, after international powerhouses Christie’s and Sotheby’s. It is based in Beijing and began holding Hong Kong sales in 2012.

Over the past week, Poly, Sotheby’s, Christie’s and China Guardian (China’s second-largest auction firm), have held multi-day sale events spanning several categories including traditional Chinese paintings, contemporary Asian art, Chinese antiques, jewellery and wine.

Our legal expert writes: In the event of the painting not being found, a legal quagmire opens up. Technically, the legal situation is that ownership of an item sold at auction passes to the purchaser with the fall of the auctioneer’s gavel. In practical terms, if the buyer has not actually paid for it and the lot is lost by the auctioneer, his servants or agents, the buyer would most probably refuse to pay up. The situation arising has become more complicated since the imposition of Buyer’s Premium by all auction houses. This brings the buyer into a contractual relationship with the auctioneers (although, confusingly, auctioneers will always claim the relationship is with the vendor, usually unknown to the buyer). Many buyers will claim that the auctioneer owes a duty of care – that is what is being paid for with the buyer’s premium. If the buyer has, in fact, paid for the picture and engaged other parties or party to pack up and deliver the picture in question, then his claim would be against them. That may be fine if the carrier is a large international company but a small local carrier may simply have insufficient funds to make due compensation. What this incident does illustrate is the dangers auctioneers face when they sell out of relatively insecure premises – like an international hotel. Their own premises represent a far more secure environment where security and systems are well practised.

Zhang Xiaogang world record $12.1m. at Sotheby’s in HK

The record-breaking sale of Zhang Xiaogang's Bloodline: Big Family No. 3 at Sotheby's Hong Kong on April 5. (Sotheby's)

The record-breaking sale of Zhang Xiaogang’s Bloodline: Big Family No. 3 at Sotheby’s Hong Kong on April 5. (Photo courtesy Sotheby’s)

This week in Hong Kong there has been no sign of the ardour for top Chinese contemporary artists cooling. It is clear that the most popular and well recognised artists will continue to see escalating prices, as we predicted last week. Sotheby’s are particularly pleased  with the record-setting sale of a piece by Zhang Xiaogang and many other high end of estimate prices.

After active competition from five bidders, Zhang’s Bloodline: Big Family No. 3 sold for US$12.1 million at the Sotheby’s Hong Kong Modern And Contemporary Asian Art Evening Sale on April 5, surpassing its high estimate of $10.3 million. This amount is significantly higher than the artist’s previous record, which was set in 2011 with the sale of Forever Lasting Love (Triptych) for $10.1 million. Inspired by family photos from the Cultural Revolution and European surrealism, the painting was one of the artist’s rarer, early works, and had established a previous world record for Zhang when it was auctioned in 2008 for about half its current value.

Zhang Xiaogang's Bloodline: Big Family No. 3 is estimated to sell for US$ to $10.3 million at Sotheby's in Hong Kong on April 5. The work is considered to be one of Zhang's more politically charged pieces, making it especially rare. (Sotheby's)

The painting by Zhang Xiagang is regarded as highly charged politically which is partly responsible for the record price (Photo courtesy Sotheby’s)

A major factor in the uplift in prices of Chinese contemporary works is attributable to the rising presence of Chinese collectors in the market. With growing incomes and a pragmatic, investment-minded approach to buying, Chinese bidders are more active every season as their numbers swell. “While bidding on the selection of highly desirable works was truly global, Asian collectors walked away with most of the top pieces,” said a Sotheby’s representative. The rising presence of wealthy Chinese collectors at global auctions may well help Chinese auction prices to catch up on those of Western prices in the coming years.

Zeng Fanzhi's This Land So Rich In Beauty No. 6 (Diptych) surpassed its high estimate with a sale of $2.8 million at Sotheby's Hong Kong evening sale. (Sotheby's)

Zeng Fanzhi’s This Land So Rich In Beauty No. 6 (Diptych) surpassed its high estimate with a sale of $2.8 million at Sotheby’s Hong Kong evening sale. (Sotheby’s)

Chinese contemporary art dominated the top 10 lots of the sale, with many pieces surpassing their high estimates. Two pieces by Zeng Fanzhi, the artist with the current world record for the most expensive piece of Chinese contemporary art, topped their high estimates—his This Land So Rich In Beauty No. 6 (Diptych) and Mask Series No. 5 both sold for $2.8 million. Chinese-French painters were highly prominent at the sale: Sanyu’s Potted Chrysanthemums sold for $10.3 million, while three of Zao Wou-Ki’s paintings were among the top 10.

Sanyu's Potted Chrysanthemums was the second-highest lot of the evening after the Zhang Xiaogang piece, selling for $7.4 million. (Sotheby's)

Sanyu’s Potted Chrysanthemums was the second-highest lot of the evening after the Zhang Xiaogang piece, selling for $10.3 million. (Photo courtesy Sotheby’s)

Here are the top 10 lots with exact prices in USD:

1. Zhang Xiaogang, Bloodline: Big Family No. 3, 1995: $12,076,923

2. Sanyu, Potted Chrysanthemums, 1950s: $10,353,846

3. S. Sudjojono, Pasukan Kita Yang Dipimppin Pangeran Diponegoro (Our Soldiers Led Under Prince Diponegoro), 1979: $7,482,051

4. Chen Yifei, Morning Prayer, 1996: $3,461,538

5. Zeng Fanzhi, This Land So Rich In Beauty No. 6 (Diptych), 2006: $2,887,179

6. Zeng Fanzhi, Mask Series No. 5, 1994: $2,887,179

7. Zao Wou-Ki, 06.01.64, 1964: $2,743,590

8. Zao Wou-Ki, 18.08.67, 1967: $2,671,795

9. Zao Wou-Ki, 20.01.64, 1964: $2,456,410

10. Kazuo Shiraga, Chitaisei Honkoshin, 1960: $2,312,821

The strength of blue-chip works went far beyond the top 10. Many Chinese contemporary works in the seven-figure range met or exceeded their estimates, such as Yue Minjun’s Garbage Hill, which fetched $1.5 million, and Liu Wei’s Dad In Front of TV Set, which sold for about $1.4 million. The auction achieved a sale of 92.7 percent of all works by lot and 96.3 percent by value, showing that interest remains strong among blue-chip buyers at all price levels.

With thanks to Sotheby’s Hong Kong


Chicken cup is far from chickenfeed . . . at US$36.3m.


When it comes to price, so-called chicken cups are far from being chickenfeed . . . as was made clear April 8 at Sotheby’s Hong Kong when a single cup fetched the equivalent of US$36.3m., exclusive of buyer’s premium. This set a new world record for a piece of Chinese ceramics. For avid and well-heeled collectors of Chinese ceramics, few pieces engender as much excitement as the small Ming dynasty-era bowls commonly known as “chicken cups.”

The bowl was bought by Shanghai billionaire property developer and collector Liu Yiqian who we have previously written about.

These bowls, quite small enough to be held comfortably in the palm of an average-sized hand, were created in a strictly limited period between 1465 and 1487, and are so-called for the chickens painted on their sides. Only 19 are known to exist, and of those just four are in private hands, with the rest in museum collections.

Part of the Meiyintang collection owned by Switzerland’s Zuellig family, this same bowl was also the last chicken cup to go up for auction, in 1999. Also at a Sotheby’s sale in Hong Kong, it brought US$3.7 million—at the time, a record for a piece of Chinese porcelain.

Prices for Chinese ceramics have skyrocketed since, but reverence for these cups goes back even further. Indeed, it has lasted since imperial times during the Ming dynasty. Several works of Chinese literature refer to the chicken cups, often describing how emperors and nobles spent fortunes to obtain them – even in the 17th century.

Of 19 chicken cups known to exist, 15 are in museums. Photo courtesy EPA

“This is the crowning glory for collectors,” says Nicholas Chow, Sotheby’s Chinese ceramics expert.

The painting on the cup is a naive, almost childish, coloured depiction of a rooster and a hen taking care of a young chick—a parable for Confucian virtues that extend to an emperor’s looking after his subjects. The simplicity is what makes this cup so desirable, said Mr. Chow, and the artist’s “impressionistic” style is atypical for that time.

But, as usual with Chinese porcelain, it is a case of caveat emptor. Mr. Chow says the chicken cups are the most-copied bowls in China, and even the Chenghua examples in museums have aroused suspicion. In a Sotheby’s catalogue essay about the chicken-cup sale, ceramics expert Regina Krahl has written that former Sotheby’s Chairman Julian Thompson had maintained that the two examples at the Palace Museum in Beijing were fakes. (The museum declared in an official 1999 catalog that they are actually authentic.) Today, antique markets in China offer imitations for as little as a few yuan apiece. “It’s like hanging a copy of the Mona Lisa,” Mr. Chow said. “Everybody’s heard of the chicken cup.” But only the wealthiest of collectors will be able to enter the fray and bid for this very special offering, which is almost certainly the real thing.

Contacted today on the telephone by The Wall Street Journal, the buyer appeared a trifle indignant at being questioned about the record price. “Why do you all care so much about the price?” He affirmed that he thought the price he had paid was “reasonable”. “I bought it only because I like it.”

The under-bidder was London’s leading buyer of Chinese art, Giuseppe Eskenazi. He was the buyer the last time the cup came on the market in 1999. After that purchase he sold it on to an Italian collector.

With acknowledgement to Jason Chow, Scene Asia and European Press Agency

Largest privately owned museum in China opens its doors


Photo by Andreea Dragut

We have written previously about China’s new museums and also about billionaire entrepreneur Liu Yiqian and his wife Wang Wei. Well, this pair are unstoppable. Last week saw the opening of the second branch of the Long Museum in the Xuhui Riverside Development Area of Shanghai.

The new museum is the largest privately owned museum in China founded by the glamorous couple and is vast and ambitious in size: it spans over 33.000 square meters and has 16.000 square meters of exhibition space.

long-museum-west-bund-1 Modernist or brutalist?

Photo by Andreea Dragut

Designed by Chinese architect Liu Yichun, the museum is over 4 floors and includes exhibition galleries, reading rooms, a shop and a café overlooking the Pudong River (currently only the galleries are open to the public. In reality, it’s not quite ready yet although it is a phenomenal achievement to almost complete the building in a year – the opening reception took place on March 28 but, really, it is still under construction. The official description sums up the project:

The Long Museum West Bund does not adopt the closed spatial pattern typical of ordinary museums but functionally embraces openness and public involvement. For instance, on the above-ground floors, there is a river-view restaurant, a public courtyard, a concert hall, a café, and an art shop; in the first basement, there is an exhibition hall for children, a library, rooms for artifact restoration, and an art bookshop; in the second basement, there is a parking lot available for over 300 cars. Thanks to all these, art is no longer far away from the public but is seamlessly integrated into people’s daily life and leisure.

The opening exhibition is entitled “Re-View”. It is concerned with the relationship between Eastern and Western Art. As with all of Yiqian’s initiatives, it is nothing if not ambitious:

For the opening exhibition, Long Museum has invited Mr. Wang Huangsheng to be the chief curator and Cao Qinghui and Guo Xiaoyan as co-curators. Taking the lineages in art history as the thread and leveraging the features of Long Museum collection, we proudly present “Re-View”: Opening Exhibition of Long Museum West Bund in three sections: Ancient / Contemporary, Chinese Paintings / Western Paintings, and Cases / History. The exhibition will show more than 300 artworks by over 200 artists, covering contemporary, modern, and traditional Chinese art.

long-museum-west-bund-9 Space for appreciation

Photo by Andreea Dragut

Admission information

Adult (One museum): 50RMB/person / (Two museums): 80RMB/person Concessions: 50% discount for seniors over 70, teachers and college students with valid certificates; Free Admission: Secondary and primary school students, servicemen and persons with disabilities. Discounts for Visitors in Groups: 30% discount for groups with 20 or more persons (Telephone reservation at two days’ notice is required. This discount cannot be applied with any other preferential treatment.)

Opening Hours: 10:00am-6:00pm, Monday-Sunday. Last admission is at 5:00pm.

Address: 3398 Longteng Avenue, Xuhui District Shanghai

[Photographs by Andreea Dragut]