Top-100 artists:
We use our proprietary AI - LiveArt Estimate™ to calculate current market value for each artwork. Based on this data LiveArt is able to provide numerous insights into artist and artwork financial performance, including:
See the measure of artist investment performance relative to risk. A higher ratio suggests better risk-adjusted returns, indicating more consistent performance with less risk.
Explore the most prolific periods in an artist's career based on artwork production volume and current market value. It also segments these periods by category, offering insights into when the most valuable pieces were created in each category.
Free to sign up. No credit card required.
| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Sep 15, 2017 | Christie's | New York | Fine Chinese Ceramics and Works of Art | 907 | $****** - ****** | THE YA YI FANGDING A HIGHLY IMPORTANT AND RARE BRONZE RECTANGULAR RITUAL FOOD VESSEL, FANGDING |
other
27.9 cm (11 in)
Collection of Han Kejun (1766-1840).
Collection of Wu Shifen (1796-1856).
Neiraku Museum, Nara, prior to 1961.
Christie's Paris, 26 Nov 2002, lot 200.
Gisèle Croës, Brussels, 2003.
New York, Gisèle Croës, Outstanding Bronze from Dian Kingdom and Early Chinese Vessels, 24 March-2 April 2003.
Wu Rongguang, Yunqingguan jinwen (Bronze Inscriptions in the Yunqingguan studio), 1842, vol. 4, pp. 9-10.
Wu Shifen, Meigu lu jinwen (The Record of Pursuing Antiquity: Archaic Bronze Inscriptions), 1895, vol. 1.1, p. 20.
Wu Shifen, Meigu lu (The Record of Pursuing Antiquity), vol. 1, p. 7.
Zhu Shanqi, Jingwuxinshi yiqi kuanzhi (Archaic Bronze Inscriptions in the Jingwuxinshi Studio), 1908, vol. 1, p. 36.
Fang Junyi, Zhuiyizhai yiqikuanzhi kaoshi (Interpretations of inscriptions from archaic bronzes in the Zhuiyizhai studio), 1935, vol. 5, p. 30.
Liu Tizhi, Xiaojiaojinge jinwen taben (Rubbings of Archaic Bronze Inscriptions at the Xiaojiaojingge Studio), 1935, vol. 2, p. 6.
Wang Chen, Xu Yinwencun (Continuation of the Surviving Writings from the Yin Dynasty), 1935, vol. 1, p. 5.
Luo Zhenyu, Sandai jijin wencun (Surviving Writings from the Xia, Shang, and Zhou Dynasties), 1937, vol. 2, p. 7.
Zeng Yigong, Shandong jinwen jicun (Bronze Inscriptions from Shandong), 1940, p. 7.
Sueji Umehara, Nihon shucho shina kodo seika (Selected Relics of Ancient Chinese Bronzes from Collections in Japan), vol. 3, Osaka, Yamanaka & Co., 1961, no. 195.
Noel Barnard and Cheung Kwong-Yue, Rubbings and Hand Copies of Bronze Inscriptions in Chinese, Japanese, European, American, and Australasian Collections, Taipei, 1978, no. 1035.
Yan Yiping, Jinwen Zongji (Corpus of Bronze Inscriptions), Taipei, 1983, no. 162.
Yinzhou jinwen jicheng (Compendium of Yin and Zhou Bronze Inscriptions), The Institute of Archaeology, Chinese Academy of Social Sciences, Beijing, 1984, no. 1432.
Orientations, March 2003, p. 107.
The International Asian Art Fair, CANS Chinese Art News, March 2003, no. 63, p. 46.
Wang Xiantang, Guoshi jinshi zhigao (A Record of Bronze and Stone Inscriptions in Chinese History), Qingdao, 2004, no. 1903.
Shandong Provincial Museum, Shandong jinwen jicheng (Compendium of Bronze Inscriptions from Shandong), Jinan, 2007, no. 114.
Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng (Compendium of Inscriptions and Images of Bronzes from the Shang and Zhou Dynasties), Shanghai, 2012, vol. 1, p. 445, no. 562.
The vessel is raised on four columnar legs surmounted by animal masks centered by flanges positioned beneath the flanges at the corners of the vessel above. Each side of the rectangular body is well cast with a large taotie mask below a band of confronted birds, all centered by vertical flanges and reserved on a leiwen ground. A two-character inscription, Ya yi, is cast on an interior wall below the pair of handles that rise from the rim. The bronze has a mottled pale green patina.
