Far East from the Wild West now in the West End (of London, that is)

Sky blue jar (Qianlong mark and period) -2 Magnificent Qianlong mark and period vase from the Cody collection now with Littleton & Hennessy in St. James’s London

Occasionally, you see an object which seems particularly beautiful, an object which deeply intrigues. That’s what I thought when I saw this extraordinary sky blue jar with cobalt blue and white slip ‘dragon and cloud’ decoration in the St James’s premises of Littleton & Hennessy during Asian Art in London.

It is so extraordinary that I somehow thought there must be an interesting story behind such an unusual piece. And, indeed, there is . . .  Mark Slaats, of L&H, tells me the piece was formerly in the Collection of Thomas English Cody (1889-1948), whose great-uncle was the famous Buffalo Bill Cody. Buffalo Bill Cody may have brought the Wild West to American audiences; Thomas English Cody brought the Far East to America. In the 1930s, the singer and actor was an avid collector of of Chinese porcelain and hardstone objects and he took his collection to the US, where it was recently dispersed.

The sky blue jar illustrated above has now returned to the UK courtesy of L&H.  A modest 19cm in height, it is, nevertheless, a stunning piece. And it bears to the base labels from important exhibitions. More details from mark@littletonandhennessy.com.


Asian Art in London celebrates in style in the wake of Her Majesty!

20171109_195543 Roger Keverne, AAL Chairman (right), looks pleased as he makes a point at the Asian Art in London 20th Anniversary Gala Party held in the British Museum’s Joseph Hutong Gallery on Thursday evening.  Photo Paul Harris.


The AAL Gala Party is normally a glittering affair and the 20th Birthday Party held on Thursday probably excelled itself. Around 450 celebrants crowded into the newly renovated and redesigned Joseph Hutong Gallery of Chinese and South Asian Art at London’s British Museum. This was very much a preview. The Gallery does not fully open to the public until December and just one rather important visitor sprang in ahead of AAL the day previously, HM Queen Elizabeth II (and rightly so!).

So the surroundings were impeccable, the exhibits on show stunning and, as usual, the champagne flowed in unlimited quantities, fully justifying the £70 ticket price! All was in sharp contrast to last year’s event which took place in a cafeteria atmosphere in Chinatown.

AAL Chairman Roger Keverne, who will resign in December, at which time the Board of AAL will vote on his successor, compered and, in association with Director Virginia Sykes-Wright, introduced this year’s winners of the AAL Awards. The auctioneer section was shared by Bonhams, one of The Big Three, and Chiswick Auctions, which is emerging as a cheeky challenger to the giants – it has just opened up in South Ken and, in the wake of Christie’s abandoning its operations there, has adopted the acronym CSK. Eat your heart out, Christies!

In the dealer category, there was a very popular award to Priestley & Ferraro. David Priestley took the award which came directly as a result of their stunning display of Early Chinese Carved Cinnabar Lacquer entitled The Deeper Picture and which ran through AAL in the lower floor of their premises in St James’s.


David Priestley clutches his well deserved Dealer Award at Thursday evening’s Asian Art in London 20th Birthday party. Pictured with Roger Keverne and the Editor of Apollo Magazine, Thomas Marks.    Photo Paul Harris

Asian Art in London is in full swing aged 20

The annual celebration Asian Art in London is currently in full swing and visitors are clearly enjoying the 20th anniversary of the event. Doubtless the 21st next year will be equally as enthusiastically celebrated, if not more!

There is the usual mix of private gallery exhibitions, open evenings, auctions of Asian art and public events. For some, the highlight is the champagne reception on the evening of Thursday November 9. This year it takes place in the auguste surroundings of The British Museum, in the newly inaugurated Joseph Hutong Gallery. This exhibition space seems bound to be a long lasting hit with Asian art lovers.

This weekend we shall be posting news and pictures from AAL.

Chiswick eagerly anticipate Huang Binhong sale

Paintings by the Chinese Modernist master Huang Binhong are rarely offered at auction in London and fierce bidding is expected for a work to be offered at Chiswick Auctions on November 13 during Asian Art in London..

Included in the top 10 ranking artists sold at auction internationally, alongside Picasso, Warhol and Monet, for the first half of 2017; his painting Yellow Mountain sold for a record 345 million yuan (US$50.5 million) at China Guardian Auctions’ sale in Beijing (Artprice.com, Aug 2017).


Ink and wash painting by Huang Binhong to be offered at Chiswick Auctions

Of course, if Chiswick were to knock down their offering, entitled simply Landscape, for a price in ths range then the sale would fit very nicely into their current expansion programme, which includes the estabishment of a central London showroom in the wake of the sudden closure of Chrsties South Kensington.

An internationally recognised master of 20th Century Chinese ink painting, prices for works by Huang Binhong have sky-rocketed in recent years and his reputation as a world-class modernist artist has been truly cemented.

His work innovatively combines Eastern traditions with influences from Impressionist and Modernist art, visible in his use of light and free brushwork.

The painting offered at Chiswick Auctions depicts the landscape of Xuancheng (宣城), a city in North East Anhui Province in China. The work was acquired by the present owner from the successful Chinese businessman Mr. David Lau (Lau Chi Man).

Chiswick Auctions is the only London saleroom to offer dedicated sales of Chinese Paintings.

Head of Asian Art, Lazarus Halstead, commented: “Since opening our Fine Chinese Paintings department there has been an overwhelming response from collectors wishing to consign and buy fine and rare works by Chinese artists.”

The November sale also includes works by 20th Century masters Qi Baishi, Pu Ru and the female artist Fang Zhaoling, as well as classical works attributed to Wang Jian and Ba Da Shan Ren.

Our favorites from Asian Art in London . . .

Wandering around Asian Art in London two weeks ago, we saw a good many desirable things which we would have loved to take home. Here is our selection of what we thought of as the most desirable things to grace our own halls. If we only had the cash, of course!

The first two were found at Ben Janssen’s in Jermyn Street where he had his usual selection of captivating small objects, supplemented by an excellent catalogue. His catalogues go straight to my reference shelves as soon as I get home . . .


A bronze incense burner in the form of an elephant

Ming dynasty, 16th – 17th century

Height: 6 1/2 inches, 16.5 cm

Length: 6 1/2 inches, 16.5 cm

A bronze incense burner in the form of an elephant, standing foursquare with its head turned back and its trunk curled between the tusks. The separately cast, openwork cover is decorated with bunched lotus flowers. The elephant wears a howdah engraved with lotus flowers and is richly attired with caparisons composed of ‘jewelled’ straps and tassels. The rim of the cover is engraved with a six-character mark of Xuande (Da Ming Xuande Nian Zi). The elephant’s fittings were originally inlaid in semi-precious stones.

The elephant (xiang) is known to have existed in China during the Bronze Age. Proof that the animal was a popular subject in art from very early times is provided most spectacularly by a large Shang dynasty zun (12th – 11th century BC) in the form of an elephant in the collection of the Musée Guimet in Paris.[ The elephant became extinct in China soon afterwards, but the animal’s enduring popularity as a decorative motif symbolising strength and high moral standards[ is evident from the many extant representations in practically all available materials in Chinese art. A richly caparisoned elephant is often seen in the presence of the Emperor, either as a bearer of tribute gift or as an exotic animal in the Emperor’s menagerie. The hollow body and the openwork cover suggest that this bronze elephant was designed as an incense burner. Although the cover of the present incense burner is engraved with the six-character mark of the emperor Xuande, who reigned from 1425 to 1435, the piece is unlikely to date from that period, but the compactness of the animal and the fine detail of the casting certainly suggests a Ming dynasty date, albeit of a somewhat later period.


We just love the restrained elegance and delicate proportions of this miniature huanghuali table with marble top which is late Ming to early Qing dynasty, 17th – 18th century.

Length: 13 inches, 33 cm

Width: 5 3/4 inches, 14.7 cm

Height: 5 1/8 inches, 13 cm

It is a miniature table made of huanghuali, supported on two pairs of recessed legs located at both ends. The rectangular top is inlaid with a slab of marble and has everted flanges above a shaped, beaded apron. The frontward curving legs are supported by spandrels carved with chi dragons in openwork. The marble slab combines whitish and greyish colours, together with some linear red veins. The wood is well polished and well patinated.

  • This piece is a miniature version of a large qiaotouan table with recessed legs, and embodies all the characteristics of the form.  Similar small table stands with decorative stone panels are shown in the 18th-century illustrations to the novel Jin Ping Mei (‘Flower in a Golden Vase’), where they support the ‘Three Friends of Incense’ – the incense tool vase, incense burner and incense powder box.[1]  Stone panels are especially suitable for incense stands as they resist scorching, and their figuration evokes images that change according to the viewer’s mood or the side from which it is viewed. A comparable 17th-century miniature qiaotouan table made of huanghuali, similarly inlaid with a marble panel on its top, is in the collection of the Museum of Classical Chinese Furniture.[2]
  • Provenance: the collection of Louise Hawley Stone (1904 – 1997), Toronto, Canada. She was the Royal Ontario Museum’s first volunteer and was also a major donor, fundraiser, Board member and committee chair.

[1] Wang, Shixiang and Evarts, C. Masterpieces from the Museum of Classical Chinese Furniture, Chinese Art Foundation, Chicago and San Francisco, 1995, p. 82

[2] Wang, Shixiang and Evarts, C. op. cit. no. 86, pp. 182-3


We found this highly unusual blue, straw and amber-glazed model of a recumbent buffalo (Tang Dynasty, 8th century) At Littleton & Hennessey in St James’. It is modelled recumbent on a oblong base with its right foreleg outstretched, glazed in blue with straw-glazed highlights, the base glazed in blue and amber. Dimensions: 18.5 cm wide x 12 cm high

Domestic animals were popular subjects in the Tang tombs, and are amongst some of the most charming and playful examples of sancai-pottery. The current buffalo is unusual in that it is depicted recumbent, while most of the buffalo we see are depicted standing. However, a seated mythical beast in the Tenri Sankokan Museum Collection in Nara, Japan, has very similar modelling, with its left front leg tucked underneath, and right foreleg outstretched. Compare also the model of donkey in the Shaanxi History Museum, which is blue-glazed like the current piece.

Provenance: The Sze Yuan Tang Collection (思源堂藏)

You will note we have not given any prices on these outstanding pieces. As the old adage goes, if you have to ask the price, you can’t afford it!




Welcome to November and a UK Asian auction virtually every day!

opinion hl

Well, it’s November again and the great annual Asian art fest which launches itself against the background of Asian Art in London. Lectures, openings, book launches and world class exhibitions gather under the direct aegis of AAL. There is, however, an array of events which are rather more loosely associated but which are of massive interest to some collectors, and an awful lot of dealers.

There will be more Asian art auctions this month than in any other month of the year. We have listed no less than 29 on our Asian Auctions Nationwide page on this site. We have maybe missed a couple (just a few auctioneers inexplicably treat the details of their auctions as some sort of dark secret!), but it is clear that over the next 30 days there is virtually an auction of Asian Art in some part of the UK every day. Some days are rather busier than others.

On November 9 the London heavyweights Christie’s and Sotheby’s compete for bidders whilst Gorringes in Lewes and Halls in Shrewsbury have sales further ‘out of town’. The following days Bonhams in London fight it out with Ewbanks and Thomson Roddick, north of the Border. A really difficult day for the avowed enthusiast is November 15 with a Bonhams sale in London; Dreweatts & Bloomsbury at Castle Donnington and day one of Wolley & Wallis’s usual epic 2-day sale in Salisbury (really interesting things in all three sales).

How does a serious enthusuiast keep on top of such a plethora of offerings? Last May, we did a week of sales: Chiswick Auctions on the Monday; Dreweatts & Bloomsbury on the Tuesday; Woolley & Wallis on the Wednesday; and Dukes of Dorchester on the Friday. It was fun, but it was exhausting . . .  and expensive. Six days on the road with a thirsty 4WD diesel knocked up well over 1200 miles and six nights in hotels plus meals brought a total cost, without too much extravagance (well, just a little), of something under £2,000. We did completely fill a Chelsea tractor to the roof with all the seats down but it took a couple of days to recover.

This November we are doing it differently. We have increasingly, this year, bid online. I used to say I would never buy anything I had not handled but, in those days, we were buying porcelain in a market replete with dubious items. However, these days we are buying differently: furniture and decorative items feature higher on our priorities and condition reports from auctioneers are usually very reliable; similarly, they are usually happy to send excellent pictures.

So, this November, as an experiment, we shall stay in our gallery, and newly acquired 4,500 sq ft warehouse, and bid online. We shall be able to cover two or three auctions a day and home in on what we really want. Online buying tends to focus your mind with set budgets, rarely exceeded in the absence of the excitement of the rooms! I also have a sneaking suspicion that often we get things more cheaply when we are not in the rooms . . .

Of course, there is the cost of getting these highly anticipated objects back. But as we have saved a couple of thousand on tripping around the country there is a budget there. Those auctioneers who offer their own packing service are favoured by us (honourable mentions to two highly efficient and reliable firms in the form of Hannams and Eastbourne Auctions) as the ubiquitous Mailboxes, Etc can be pricey, dependent on the branch.

Of course, there are sometimes disappointments when these new treasures arrive not quite as they were fondly imagined. What do we do with them? Pack them up again and send them off to auction, of course. And, we do have a new warehouse to fill . . .








Marchants to show Kangxi blue & white with copper red

Marchant’s of Kensington Church Street, London, have announced a new exhibition to coincide with Asian Art in London and which opens in a few days time. The selling exhibition will contain 34 pieces of outstanding porcelain carefully selected and is entitled Kangxi Blue and White and Underglaze Copper-Red.


No.7 A Chinese imperial porcelain blue and white and underglaze copper-red deep bowl, wan, with upright sides, painted in the well of the interior with a carp leaping from crested waves beneath the sun, amongst three lotus flowerheads and a prunus flowerhead, encircled by a wide band of two carp, crab, prawn, shells, arrow heads and aquatic plants on a stylised wave ground, beneath a further blue-ground crested wave band with copper-red prunus flowerheads at the rim, the exterior with three further carp and a mandarin fish on a wave ground amongst lotus and prunus flowerheads.

7.80 inches, 19.8 cm diameter.

The base with a six-character mark of Kangxi within a double ring in underglaze blue and of the period, 1662-1722.

Wood stand

  • Formerly in the O’Byrne Collection.
  • Exhibited at The Oriental Ceramic Society exhibition, The Animals in Chinese Art, 1968, no. 507.
  • Formerly in the Sachot Collection, France.

Emperor Kangxi reigned from 1662–‐1722, the longest reign in Chinese history. It was a prosperous time for the nation in economics and trade as well as in the arts; it was a great period for production of high quality porcelain


No.2 A Chinese porcelain blue and white and underglaze copper-red basin, painted on the interior with a large praying mantis on rockwork, beneath branches of prunus with a butterfly in flight above large leaves painted with a light blue wash, bamboo and daisy all encircled within a double ring, the cavetto painted with flowering chrysanthemum and peony beneath prunus branches on the flat everted rim, the underside supported by a wide foot rim. 14 1Ž4 inches, 36.2 cm diameter.

Early Kangxi, circa 1670-1673.

  • Purchased from Marchant, London, 28th May 1985.
  • Sold by Christie’s, New York, in their auction, An Era of Inspiration, 17th Century Chinese Porcelains from the Collection of Julia and John Curtis, 16th March 2015, lot. 3580.
  • A similar basin in the Percival David Foundation of Chinese Art at the British Museum, with figural decoration and an inscription on the base ‘made in the Xinhai year of the Kangxi reign (1671) for the Hall of Chinese Concord’ is illustrated by Rosemary Scott in Elegant Form and Harmonious Decoration: Four Dynasties of Jingdezhen Porcelain, 1992, no. 110, p. 105, collection no. PDF 653.

 The exhibition comprises of 34 Kangxi pieces in a variety of forms, including eight ‘mark and period’ ones, many with copper red details. Although none of the exhibits are cyclically dated, the exhibition has been arranged in chronological order so far as is possible utilising comparisons with similar items in important collections like the Percival David Collection..


No. 17 Chinese porcelain blue and white vase of baluster form, ping, with cylindrical ribbed neck and gently flared rim, painted with a continuous mountain river landscape scene, with two scholars and their attendant carrying a wrapped qin, while crossing a rockwork bridge leading to a house at the river’s edge, all amongst pine trees and wuti, with banks of low clouds and mountain peaks beneath the moon, the neck rib divided by bands of ruyi-heads, scrolls, key-fret and jewels.

17 5/8 inches, 44.8 cm high.

Kangxi, circa 1690.

Wood stand.

  • From a private American collection, San Francisco.
  • Formerly in the Roy Davids Collection, no. 123.
  • Included by Michel Beurdeley and Guy Raindre in, Qing Porcelain, 1986, no. 53, full colour page p. 49

Early style and technique can be identified by bold freehand painting, as seen  with an Imperial fish bowl which comes with impeccable provenance of the O’Byrne collection and Sachot Collection and which was exhibited in an Oriental Ceramic Society exhibition. 

The exhibition will be held at Marchant’s well known gallery at 120 Kensington Church Street from the 2nd-8th of November. A catalogue will be available priced at £100. It will also be online at www.marchantasianart.com





All systems go for Asian Art in London!


It’s all systems go as the Asian art world gears up for this year’s 19th Asian Art In London. The now well-established event brings together over sixty of the world’s top dealers, major auction houses and museums for a ten-day celebration of the finest Asian art. Visitors will converge on London for this prestigious international event offering gallery selling exhibitions, auctions, receptions, lectures and seminars.

To celebrate the nineteenth year of Asian Art in London, a champagne reception will be held at the China Exchange in London’s Soho. Partnered by Laurent Perrier Champagne and Mosimann’s London.There the participants of Asian Art in London, directors and curators from museums worldwide, academic specialists, visitors and collectors will rub shoulders in a convivial manner: at previous events, the champagne has been free flowing and the ticket price of £40 did not seem excessive at all. Any energetic drinker should be able to effortlessly recoup the ticket price . . .

The range of events seems to us to be even more diverse than usual with a wide geographical spread in terms of origin. You can download the programme at www.asianartinlondon.com or you can the (new) free app at the same address. We still prefer to use the hard copy brochure, inside pocket or handbag size, which is much thicker than last year’s. It is interesting to note that there is considerably more advertising: sign of a market resurgence or simply better advertising agents?

With such a panoply of events, it seems invidious to pick out just one or two but there a few which we aim to patronise for their preomising Chinese content:

Exhibition at Sotheby’s New Bond Street China without Dragons: Rare Pieces from Orental Ceramic Society Members, open daily November 3-9.

Launch of the fascinating-sounding Bringing Heaven to Earth: Silver Jewellery & Ornament in the Late Qing Dynasty by Elizabeth Herridge at The London Library on November 4 (http://Elizabeth-Herridge.com)

Panel discussion/new catalogue and reception for Chinese & Japanese Works of Art in The Collection of Her Majesty the Queen at The Queen’s Gallery, Buckingham Palace on November 10. Heavy booking for this one expected! learning@royalcollection.org.uk


Glitzy launch for Asian Art in London


Asian Art in London launch last night      Photo Paul Harris

There was a glitzy launch last night for Asian Art in London. Hundreds of art loving partygoers swilled champagne from 7 – 10pm inside London’s Mandarin Oriental Hotel on Knightsbridge.


Chinese entertainment at Asian Art in London launch   Photo Paul Harris

The party not only celebrated the start of Asian Art in London’s ten day programme of exhibitions, auctions and social events, but also 2015 UK-China Cultural Exchange Year. Representatives of the Chinese government were present but only one artist was in evidence: Mr Chen Dapeng, the Shanghai sculptor, who was recognised in The Great Hall of the People in Beijing as representative sculptor.

Since that occasion, he has been in London exhibiting at Winter Olympia Art & Antiques Fair with a large 197 sq m stand. His bust of Her Majesty Queen Elizabeth II generated massive publicity worldwide earlier this week. Some journalists, none of whom had actually seen the bust, criticised his depiction of the Queen. However, the many pages of entries in the Visitors’ Book on the stand tell a rather different story. Overwhelmingly, positive, they praise the sculptor for capturing a fine likeness of the monarch.

Paul-Olympia 29

Chen Dapeng on his crowded stand at Olympia yesterday  Photo Khalid B

Expanding Asian Art in London to start November 5

aal logo

The annual Asian bean-feast Asian Art in London continues to grow apace. Its new handy vest-pocket sized catalogue is decidedly the thickest yet. There are more exhibitors than ever at the event which runs from November 5-14. New AAL participants include contemporary art galleries Art China, Gallery Elena Schukina (contemporary Koean photo artist Seung-Hwan) Oh and Paul Harris Asia Arts with the sculptures of Chen Dapeng at Olympia.

You can get a copy of the invaluable pocket catalogue (we use ours all the year round as an essential reference work in the office) by emailing info@asianartinlondon.com or you can, of course consult the website www.asianartinlondon.com.

There are a couple of what might be termed ‘prestige events’. On November 5, the event opens with a symposium at The Royal Institution which is intriguingly entitled The Psychology of A Collector. Collectors intending to turn up will probably be relieved to hear that there are no qualified psychologists speaking so they need have no fears of any serious embarrassment! Attendance will knock you back £105 so you have a right to expect some special insights . . .

The following night the Gala Party takes place. This year it is at The Mandarin Oriental and it celebrates the UK-China Year of Cultural Exchange with support from the Chinese Embassy. Although he has been rushed off his feet by the long, intensive visit of President Xi Jinping last week, you can expect to see Ambassador Li Xiaoming and several brace of Chinese dignitaries basking in the glow of last week’s successful visit. Tickets for the bash are available at a mere £60 a go.

Other definite notes for the diary are the drinks party rounds on Saturday November 7 (Kensington Church Street), Sunday November 8 (St James’s) and Monday November 9 (Mayfair). It is an excellent series of opportunities to get around the exhibitors without cutting into the routines of actual business. They’re also free . . .

We shall be posting news and pictures on chineseart.co.uk.


Asian art auctions crowd the calendar in November

gavel 1 Auction fever in November

For the Asian art buyer next month promises to be a taxing, wallet emptying experience . . . It is the busiest month ever for Asian art auctions. Starting November 3 with London’s Chiswick Auctions, the next 28 days of the month of November will see no fewer  than 20 major auctions of Asian art.

The sales range in size from Sotheby’s November 11 sale of Classical Chinese Furniture from a European Private Collection with just 28 lots of fine-looking huanghuali furniture, to Woolley & Wallis’s usual two day extravaganza on November 17 and 18. They range in location from Bonhams Edinburgh rooms to Dukes in Dorchester and Peter Francis in Carmarthen.

The plethora of sales raises problems of logistics for the avid follower of Chinese auction offerings. Even if you only peruse catalogues on line, you have to set aside at least a couple of days. As for attending all the sales, that is a practical impossibility given the distances involved and the fact that many sales compete with each other on the same day!

Things calm down, thankfully, at the end of the month, although you may care to take in, if you have the energy and the bank balance left, the Lyon & Turnbull auction at Crosshall Manor, St Neots, Cambridgeshire. L&T are again abandoning their elegant Edinburgh saleroom for a small barn in order to be within relatively easy reach of the London market and Heathrow airport.

The auction mania is effectively driven by other surrounding events. The prestigious Olympia Winter Art & Antiques Fair has a strong Chinese and Asian showing this year and starts with its private view on November 2. Asian Art in London starts on November 5 and runs on until the 14th. Both events bring thousands of Asian buyers to London.


      Lyon & Turnbull . . . at Crosshall Manor again     Photo Paul Harris

Listings for all the auctions can be found on our Auctions Nationwide page which is accessible from the slider bar on the Home Page of chineseart.co.uk

Chinese sculptor Chen Dapeng plans major London exhibit at Olympia, book and top secret unveiling


Chen Dapeng at work in his Shanghai studio, June 2015     Photo Paul Harris

The Shanghai-based Chinese sculptor Chen Dapeng is next month to mount a major exhibit at the prestigious Winter Olympic Art & Antiques Fair; launch a coffee table book on his work; and promises the unveiling of a dramatic, top secret bust of ‘a most prominent UK public figure’.

Said Paul Harris of Paul Harris Asia Arts today, ‘We are proud to be organising the first exhibition in the UK for the Shanghai-based Chinese sculptor Chen Dapeng. This follows his successful showings at the Shanghai EXPO (2010) and the Carousel du Louvre (2013), where he was greeted by the French press as ‘the new Rodin’.

‘The 197 sq m Chen Dapeng exhibit (Stand A25) will be the largest at this year’s prestigious Olympia Winter Art & Antiques Fair, which takes place at The National Hall from November 2-8, and represents for us an investment of more than a quarter of a million pounds sterling. There will be a champagne preview on November 2, as well as a press photo-call. ‘

This year the Fair itself celebrates its 25th anniversary as the most important winter art and antiques show in London.

‘At 1830 hours there will be the unveiling of Chen Dapeng’s new bust of a most prominent UK public figure and which he has executed to celebrate the 2015 UK-China Year of Cultural Exchange. More details of this event will be released on Wednesday October 28 and you will be informed accordingly. A new full colour coffee table book on Chen Dapeng containing a catalogue raisonné of his sculptures will also be launched at the Preview.

with Songjian sculptor

Paul Harris with Chen Dapeng in  Shanghai studio, 2003. Photo Paul Harris Asia Arts

On Friday November 6, Paul Harris will be giving the lecture CHINESE SCULPTURE: FROM THE TERRACOTTA ARMY TO CHEN DAPENG at Olympia National Hall.’

This lecture is free to all Olympia ticket holders. Paul Harris is an accredited NADFAS (National Association of Decorative and Fine Art Societies) lecturer in the UK and Australia, as well as the author of half a dozen art books (www.worldoflectures.com). His also owns this website www.chineseart.co.uk, as well as www.vietnamart.co.uk.

The Chen Dapeng exhibit is also a participant in Asian Art in London.