China looms large in the world of art, and ever larger. Where the Chinese stand out most visibly from the rest of the world is in the field of ceramics. Chinese ceramics had been produced for over a millenium before it was achieved in Japan in the seventeenth century and in Europe in the early eighteenth century. Moreover, China has exported porcelain to other countries on a very large scale over a long period of time. Therefore, it should be no surprise to anyone that porcelain has long been the leading segment in the global market for Chinese art and remains so today.

Chinese export and imperial ceramics, or porcelain, are often considered as some of the least volatile segments of the global market for Chinese art because they have stood the test of time. We target the top 10% of the Chinese export ceramics market, primarily high quality ceramics valued at between $10,000 and $1 million, as well as the imperial ceramics market, primarily blue chip ceramics valued between $50,000 and $5 million.

While Chinese export and imperial ceramics represent our main target segment, we will consider investments in other segments of the Asian art market. The full list of the target segments in which will aim to invest can be found thereafter:

Chinese export porcelain (17th and 18th centuries)

• Famille rose;
• Famille verte;
• Blue and white;
• Chinese imari;
• Armorial wares;
• Clay figures.

Chinese domestic porcelain

• Qing imperial wares, enamelled, blue and white, monochrome;
• Ming imperial wares, enamelled, blue and white, celadon;
• Yuan blue and white.

Chinese works of art

• Cloisonné;
• Painted enamel on copper;
• Bronze and gilt bronze;
• Glass and mirror painting;
• Scholar's objects;
• Mutimedia objects;
• Lacquer;
• Ivory;
• Wood and bamboo carving.

Japanese porcelain

• Arita wares;
• Kakiemon wares.

Japanese works of art

• Meiji and post-Meiji metalwork and lacquer;
• Cloisonné.

We do not plan to invest in early wares, which are subject to too many regulations that are constantly being made more rigorous, and in hardstones, which are a minefield as fakes far outnumber genuine pieces and as experts can hardly agree on what is genuine.