Conversation with a Collector

The Wangxing Lou Collection, assembled over the last twenty years, is considered one of the foremost Chinese private collections of Qing period (1644-1911) imperial ceramics. Representing perhaps the most creative and technically accomplished period in ceramic history, it comprises objects from the Kangxi (1662-1722), Yongzheng (1722-35), and Qianlong (1736-95) reigns. The collection is the focus of 'Imperial Perfection: The Palace Porcelain of Three Chinese Emperors' at the Minneapolis Institute of Arts, and runs until 4 July (2004). 103 pieces are featured, each made for the Chinese court and bearing an imperial reign mark. It is estimated that around 40 percent of the objects are unknown elsewhere, even in the Palace museums in Beijing and Taipei. A fully illustrated catalogue accompanies the show. The collector, who prefers to remain anonymous, spoke to Henry Howard-Sneyd about his fascination with Qing ceramics.

Henry Howard-Sneyd: I have just been looking through the exhibition catalogue, and it looks very exciting. Can you tell us how you started the collection?

Collector: I am first and foremost a dealer. I started my antique business more than twenty years ago, mainly dealing in early Chinese material such as pottery. The first Qing ceramic I bought for my own collection was in 1991, but I knew very little about this material then. I thought that my knowledge of early wares would help, but to learn about dating and authenticity of Qing wares requires dedicated study. There are many fakes and 19th century copies, and I was cheated on a number of occasions. After this I decided to buy at auction.

HHS: Why did you choose auctions?

C: Because I think the auction houses are reliable, and there are experts to give advice. Also, I wanted to keep my collecting activities separate from my business. I wanted to focus on selling early material in my gallery to avoid competing with my clients on Qing pieces. The first example of my buying at auction is the Qianlong vase with cover [below], which is very good quality, but the base had been drilled - it had probably been used as a lamp.

Vase and cover
Qianlong period (1736-95)
Porcelain with underglaze cobalt-blue decoration
Height 59 cm
Wangxing Lou collection

HHS: You and I are almost the same age, but I particularly respect and admire your eye, especially your ability to recognize the finest quality in your collecting. Was this ability immediate or did it grow out of looking at pottery?

C: I believe I developed a sense for quality from dealing in early material and also from reading and from studying museum collections. Over a ten-year period, I had formed a mental inventory of shapes, forms and decoration, so I could try to develop a more unusual collection. I wanted to buy unique pieces. When I started in 1991, I was aware of rarity but still had a lot more to learn. With the help of experts and advisers, I was able to build a good selection of pieces.

HHS: Were people willing to share their knowledge with you?

C: Yes, but one must be willing to listen and absorb knowledge from experts like Julian Thompson, who is a very generous and thoughtful teacher. I avoided listening to some dishonest dealers, who sometimes have ulterior motives. Developing one's own taste is important, but dedicated study and research are essential to building a good collection. Seeking the opinion of others is helpful but, in the end, one must learn to be able to analyse and make judgements alone.

Bowl
Yongzheng period (1723-35)
Porcelain with polychrome enamels
Height 7.1 cm
Wangxing Lou Collection

HHS: Interestingly, contrary to trends in the early 1990s, you had the courage to sacrifice condition for quality and rarity. I recall that you bought an exceptional Guyuexuan bowl for £128,000 at Sotheby's London despite it not being in perfect condition [below]. 

C: I am willing to pay high prices for very unusual pieces, but as a small dealer I have a limited budget. I understand my limitations. I prefer to buy good examples that are less expensive as a result of condition problems rather than to compete for perfect pieces with those who have unlimited funds. If I had not taken the opportunity to buy such a rare and important example with condition problems, I would have missed the opportunity to have a Guyuexuan piece in my collection.

HHS: On reflection, your courage has paid off, as the Guyuexuan bowl is probably now valued at at least five times your cost.

C: Yes, when I bought it many friends and other dealers questioned my judgement, but I knew it was a once-in-a-lifetime opportunity for me. For a perfect Guyuexuan bowl, I would have to compete with the rich collectors and still not get it in the end.

Censer and cover
Qianlong period (1736-95)
Celadon-glazed porcelain
Height 46.3 cm
Wangxing Lou Collection

HHS: Can you talk about your favourite piece, the one that best represents you and your collection?

C: This is very difficult for me as I am so attached to each and every piece! If you ask me to select ten or twenty examples, that would be easier. My collection numbers over 200 ceramics, but only 103 are in the exhibition. I wanted to show only the best.

HHS: I can respect that. Perhaps some collectors would choose the most expensive piece or the one that was the most difficult to acquire. 

C: I don't measure my pieces by value, but rather by rarity and interesting form and decoration.

HHS: After collecting Qing wares for many years, what are your views on the excitement generated by the new collectors from mainland China?

C: There is a lot of new wealth in China. so there are many buyers active on the international market. However, I feel that right now, the mainland China buyers are not focused. I think it is quite hard to refine one's knowledge in this way. Their objective seems to be to own a big collection rather than develop good taste. My personal belief is that a real collector should be more selective and study hard in a particular period or type. For example, a collector should concentrate on Song, Yuan or Qing material or works of art, or snuff bottles, and so on.

A pair of vases
Qianlong period (1736-95)
Porcelain with polychrome enamels on a turquoise ground
Height 22.7 cm
Wangxing Lou Collection

HHS: Are you saying that these new collections lack character as they are devoid of personal taste and don't have the hallmark of a collector? 

C: The approach of the mainland China collectors is quite different to mine and that of other more mature collectors who rely only partly on consultants. I think they probably have quite a few advisers to help them acquire in many different areas, so there is no focus to their collections.

HHS: However, that is like some of the wealthy English collectors in the 1950s, who were also inclined to develop broad, encyclopaedic collections. They could afford to make many mistakes and just to keep buying.

C: To have real knowledge in a field that is so big, it is better to concentrate on one area. This should be the attitude of a real collector, rather than buying for one's ego or as decoration.

HHS: Is the exhibition and catalogue a milestone for you? Will you continue collecting Qing wares?

C: I am still buying Qing pieces, but as you know, prices have escalated and there are fewer good examples. I put my collection together mostly through the 1990s, and it is harder to form one now. I can think of only two other dealers, Edward T. Chow and Robert Chang, who have been able to form collections over the period of their dealing years. I thought it was a good time to have an exhibition and catalogue of my small collection. I want to share my treasures and experience with anyone interested in Qing ceramics, and I hope it will help others to understand more about shapes and styles.

This article first featured in our June 2004 print issue. To read more of our past issues, purchase them here.

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