但是,国际艺术品、洋酒以及珠宝将会进入拍卖名录,佳士得亚洲区总裁高逸龙(François Curiel)说:“我们也有能力举办私人拍卖会……希望能够接洽到中国藏家,他们不太出国旅游。”当被问到这是否意味着香港作为拍卖中心地位的终结,高逸龙答道:“完全不是,我觉得上海根本不会挤占香港的中心地位,如今的市场规模特别庞大,每家都有生存空间。”
Still in Asia, Sotheby’s spring sales season in Hong Kong concluded with a solid grand total of US$280m, against expectations of US$220m-US$295m (pre-sale estimates don’t include commission; results do). These figures are far from the record of US$447m set for the same series in 2011, but since then the Chinese market has cooled quite dramatically, due to a slowdown in the Chinese economy.
还是在亚洲市场,香港苏富比今春拍季完全出乎之前2.2亿美元-2.95亿美元的预估(竞拍前的预估成交额并不包括佣金,但最终成交额中包括相应的佣金),最终的总成交额为2.8亿美元,远低于2011年同期创下的4.47亿美元记录。2011年以后,由于中国经济减速,中国拍卖市场行情急剧萎缩。
At Sotheby’s, the traditional fields did well, with a tiny 17th-century ruby-red tea bowl, sold by the collector Alice Cheng, making a tidy US$9.6m. However there were some hiccups in the sale of contemporary Asian art, which made US$16.7m. According to the local art dealer Jean-Marc Decrop, “In some cases estimates were too high, and because the market has been weaker, vendors were holding off consigning. But the good things did very well: as an example, a Fang Lijun painting, “Series 1, No 4” (1990-91) made US$2.3m, despite being black-and-white, so not necessarily as immediately appealing as his more colourful works.”
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