Grand Unveiling of Poly Auction Hong Kong Autumn Auctions 2025 at Shun Tak Centre Presenting a Series of Cross-category Artistic Treasures at the Season’s Premier Art Event

Auction Preview: 3 – 8 October

Live Auctions: 7 – 9 October

4/F, Shun Tak Centre

HONG KONG, Sept. 27, 2025 /PRNewswire/ — Poly Auction Hong Kong is pleased to present the Autumn Auctions 2025. The Auction Preview and Live Auctions will take place from 3 to 9 October on the 4th floor of Shun Tak Centre. A diverse array of exquisite artistic treasures with heritage value and investment potential will be showcased, offering an exceptional art experience to collectors from all around the world.

Leading up to the Autumn Auctions, a Highlights Preview from 24 to 29 September will be held at Poly Gallery Hong Kong. The exhibition will display a selection of key lots that are set to feature in the upcoming auction, and is an incredible viewing opportunity that is not to be missed.

MODERN AND CONTEMPORARY ART

This season, the Modern and Contemporary Art Department presents an exceptional auction that transcends eras and styles, spotlighting current global trends, revisiting iconic 20th-century masterpieces, and celebrating the innovation within Chinese contemporary art.

Zhou Chunya’s Peach Blossoms transforms the canvas into an immersive, three-dimensional realm. Drawing from the Chinese literati tradition, where peach blossoms symbolize a retreat to nature and spiritual serenity, Zhou reinterprets this motif using modern oil painting techniques. His blossoms transcend mere poetic symbols, becoming vivid, sensory expressions that bridge classical and modern aesthetics. The work redefines a traditional Chinese image while engaging in a dialogue with Western art. Zhou’s fluid strokes evoke the energy of Abstract Expressionism, turning the canvas into a space of action and emotion. These Western influences are seamlessly integrated into the Chinese ideal of the “Peach Blossom Spring”, culminating in a vibrant, contemporary vision of a floral paradise. Peach Blossoms embodies a rich cultural heritage and participates in a broader, global artistic dialogue, solidifying its place as a defining masterpiece of Chinese contemporary art.

Wu Dayu’s Rhymes of Beijing Opera-52
, created circa 1980, marks a pivotal point in the artist’s career, showcasing a complete transcendence of figurative limitations. Wu concentrates on the interplay of lines, colors, and spatial relationships, channeling emotions with unrestrained clarity. Inspired by the fluid, expressive strokes of Chinese calligraphy and the dynamic movements of Beijing Opera performers, he translates these elements into rhythmic brushstrokes, generating a dramatic cadence and layers of surging color. This embodiment of “Eastern aesthetic charm” within the confines of the canvas carves new paths for modern Chinese art, establishing a bold and innovative artistic vision.

Anish Kapoor’s Mirror (Brandy Wine to Laser Red mix2 Brandy Wine) stands as a remarkable work in his iconic “Mirror” series. Evoking the image of a circular red vortex, it subtly draws in the surrounding space, architecture, and the viewer, creating a dynamic interplay between the artwork and its environment. Depending on its context, the piece unfolds a spectrum of mesmerizing effects, challenging conventional perceptions of the relationship between emptiness and form. Through this profound engagement, it reveals an extraordinary capacity to converse with the depths of contemporary spatial concepts.

Also featured is Yayoi Kusama’s Dots Obsession, painted in 2001, a striking work that showcases the artist’s signature color palette and meticulously arranged dot matrices. The piece embodies her enduring fascination with infinity, obliteration, and the cosmic order. Rooted in her early visual explorations, it reveals the philosophical sophistication of her mature period, offering profound reflections on life, existence, and the universe.

Kohei Nawa’s PixCell-Topi features a Damaliscus lunatus, also known as a topi, a rare and elusive antelope native to Africa’s expansive grasslands. With its distinctive form and vibrant vitality, the topi is transformed by the artist into a singular intersection of technology and spirituality. By meticulously fusing taxidermy with glass beads, the artwork captures the raw energy of life on the savanna, preserving the dust and light of the African landscape beneath its crystalline surface. The result is a contemporary totem imbued with profound spiritual resonance.

Circle 87-2
 stands as one of the most significant works in the history of contemporary Chinese art, recognized not only for its appearance in pivotal exhibitions but also for its groundbreaking role in establishing Chinese abstract art. The piece masterfully fuses Eastern Taoist philosophy with Western abstract forms. Using black and white, Yu Youhan employs calligraphic brushstrokes to create a cosmos of dynamic chaos within the circle. Inspired by the Taiji philosophy of the I Ching and the Tao Te Ching, this work represents a monumental chapter in the evolution of contemporary Chinese art.

Chinese Ceramics and Works of Art

The Chinese Ceramics and Works of Arts Department is delighted to present three curated sales: ‘Peak of Grandeur: A Fine Selection of lmportant lmperial Treasures’, ‘The Way of Things: Treasures of Early Chinese Art’, and ‘Chinese Ceramics and Works of Art’. Here are a few highlights from our upcoming sales:

A
 Junyao purple and blue-glazed ‘numbered six’ tripod narcissus bowl, dating from the Yuan to early Ming dynasty. The bowl is covered with a ravishing blue glaze on the interior and a vibrant reddish-purple glaze on the exterior, reminiscent of rosy clouds against the blue sky. Decorated with two rows of drum nail bosses, the form is remarkably elegant and refined. With the numeral six incised to the base, it functioned as a flower vessel in the imperial court. Its impeccable provenance adds to its rarity and importance.

A fine and rare ‘robin’s egg’-glazed vase, zun
, from the Yongzheng period. The form is simple yet elegant. Decorated with three groups of raised bow-strings, the vase is admired for its dynamic silhouette. The turquoise glaze cascades down in fluid streaks with characteristic violet-red flecking. Its sophisticated craftsmanship marks it as an exceptional example of Chinese imperial porcelain. 

A rare and large carved polychrome lacquer ‘archaistic’ vase with ‘deer’- handles, hu
, from the Qianlong period. The form of the present vase is derived from archaic bronze ritual vessels. The vase is distinguished by its lustrous color, precise carving and intricate design. The ‘deer’-form handles are exquisitely rendered with lively charm. With an illustrious provenance, this masterpiece showcases both the appreciation for the past and the technical refinements during the Qianlong reign.

An important archaic bronze ritual food vessel, gui
, from the Western Zhou dynasty. The vessel is of exceptional quality – its form elegant and vigorous, its patina deep and mature, and its decoration crisp and elaborate. Cast with the inscription, ‘zuo fu yi bao gui shen’ (Shen made this precious sacrificial vessel, gui, for Father Yi), this gui has been extensively documented, underscoring its historical importance.

An archaic bronze ritual food vessel, fangding
, from the early Western Zhou dynasty. The imposing presence of the vessel is enhanced by its exquisitely cast decoration and eight prominent flanges. With the inscription ‘ya mu yu’ (made to commemorate the alliance between two clans), this fangding possesses both historical value and artistic brilliance.

A gilt bronze figure of Kapaladhara Hevajra
, from the early Ming dynasty. The figure is exceedingly impressive, with the dazzling colour of gilding, fierce expression of the deity and meticulously rendered jewels and ornaments. It is of superb quality and rarity, reflecting the exquisite craftsmanship of the imperial workshops in the early Ming dynasty.

CHINESE PAINTINGS AND CALLIGRAPHY

The Chinese Painting and Calligraphy Department will present a selection of works that bridges ancient and modern civilization.

Among the forthcoming ancient works is Xu Wei’s Calligraphy in Semi-Cursive Script, created in the Renchen year (1582) of the Wanli era when the artist was 72 years old, and is one of his latest works from the final years of his life. The handscroll includes two poems: “Ode to Watching the Hunt” and “On the Sixteenth Night, Strolling Under Lanterns, Drinking with Qu Zhongyu and Wang Xinpu at the West Tower of Great Central Bridge”. Both poems appear in the Complete Works of Xu Wenchang. This handscroll appears at first glance to be comprised of wild and unrefined scribbles; in fact, its brushstrokes are arranged like stones cobbled together on a road, intentionally and harmoniously composed. Xu’s calligraphy emphasizes lifting and pressing motions, exaggerating certain strokes and character components. His style reflects influences from Chu Suiliang and Huang Tingjian, with the most delicate passages executed with a finely pointed brush. His calligraphic rhythm rises and falls, with dots and strokes extended freely to convey a distinctively unrestrained and self-possessed spirit.

After Wang Wei: Snow Mountain Travelling
 was painted by Lan Meng, whose sobriquet names include Cigong and Yixing, and was also known as Luan. He was a native of Hangzhou, Zhejiang, and is the second son of Lan Ying. He gained fame from a young age and excelled in landscape painting, studying after masters of the Song and Yuan dynasties. He took particularly to Ni Zan’s sparse elegance, preferring refined brushwork, alongside, in observation of his family’s tradition, the stylistic influence of Huang Gongwang. This is a large handscroll that evokes Wang Wei, who is regarded as the founder of literati painting and a master of composing winter scenes. The painting shows towering snow-peaks, lush ancient trees, and sharp mountain ridges in an S-shaped composition, executed as an imposing handscroll with the monumental grandeur characteristic of Song arrangements, and with subdued and classical coloring. In the lower section, a red-robed scholar wearing a bamboo hat rides a horse, hurrying along in the cold wind. Two attendants follow closely behind, one carrying a load on a shoulder pole, the other bearing a heavy backpack. Along the winding mountain path, houses and dwellings peek out from dense trees and hills, complementing the snow bearing on treetops and red leaves scattered on the scenery. The painting comprehensively captures a landscape from its vast scale down to its minute details, and is a rare and masterful work by Lan Meng.

Dong Bangda’s The Bestowed Residence depicts an estate with elegant, lively brushwork and refined, graceful coloring. A light blue-green wash is applied over a base of ink and light hues. The composition shows a spacious, splendid courtyard surrounded by beautiful scenery — lush trees, a small bridge over a flowing stream, and a two-tiered embankment lined with willows — premises unmatched even in the capital. A century later, this painting was discovered and purchased by Xiang Shouzhang. By coincidence, his brother-in-law Xu Naipu, who served in the emperor’s private Nan Shufang in the Forbidden City, was then residing in the very same former residence of the elderly Chancellor Xu. As though ordained by fate, Xiang Shouzhang promptly gifted the album to him. It was later passed down to Xu’s son, Xu Pengshou. In the sixth year of Emperor Xianfeng’s reign, Xu Pengshou brought out this album while hosting Cheng Zuqing as his guest. Inspired, Cheng added one more painting to the album, bringing it to a perfect conclusion.

Also to be presented is Li Fangying’s Twelve-Leaf Album of Flowers. This album is a masterful later-year work by one of the “Eight Eccentrics of Yangzhou”, completed less than three years before his passing. Li painted it in the summer of the 18th year of the Qianlong era (1753), while he was residing at a friend’s estate in Jinling (known as “Jie Garden”), and supporting himself by selling paintings. Known for his righteous and principled character, Li experienced numerous frustrations over the course of his career. In his later years, his painting style transformed remarkably, becoming wild and emotionally intense. This album consists of twelve leaves depicting plum blossoms, chrysanthemums and other blooms, executed with vigorous, ancient-inspired brushwork and a masterful interplay of ink and color. His renderings of plum blossoms are especially varied in form and structure, blending moist and dry ink in unexpected ways that continually delight and captivate the viewer.

Additionally, among the modern works to be featured is Fu Baoshi’s ScholarsListening to the Ruan. This painting is an exemplary figure work from Fu’s “Jingangpo period” in 1943, a time when his personal style began to emerge. The piece conveys a charmingly naive and unpretentious manner and is full of character and appeal. The artist used relatively loose-textured Sichuan traditional handmade paper, applying lush, expressive ink washes and scattered brushwork to evoke a sense of wind and rain. The figures are rendered with refined, ancient-style gossamer-line drawing, depicting a scholar listening to the music, the female musician playing the ruan instrument, and a servant holding wine. The resolute scholar appears deep in thought, seemingly distracted from the music, reflecting the artist’s own sorrow and concern for his country and people.

Wu Guanzhong’s Su Zhou Gardens portrays a Jiangnan garden scene executed on Japanese paper card. In the distance, a pavilion with black tiles and vermilion railings offers a cool and pleasant resting place for visitors. The mid-section of the piece features rockeries and their reflections in the water, rendered in light ink washes and outlined with classic silvery-gray lines. From the top right to the middle of the piece, tender green vines cling gently to the rocks, while quick, expressive brushstrokes suggest varying shades of greenery. Playful cinnabar red-fish, dot into view from the back to the foreground, and ripples spread outward from the center, evoking the poetic sentiment of “a sudden breeze ruffles the spring water of the pond”, as in the poem “The Wind Rises” by Feng Yanji. The composition harmoniously blends dots, lines, and surfaces with ink and color interplaying between the tangible and the implied, creating a gentle and elegant atmosphere unique to Jiangnan’s water towns, presenting a garden full of vitality that captivates the imagination.

JEWELS

The Jewelry, Watches, and Handbags Department presents a selection of elegant and collectible pieces worthy of being treasured and passed down through generations.

The highlight lot of this season is the Jadeite Bead, Ruby and Diamond Necklace. “Large pearls and small pearls falling on a jade plate” — like the delicate imagery evoked by Li Bai in his poem “Song of the Pipa” finds form in this necklace composed of forty-three natural jadeite beads. Each bead, uniform in size, is exceptionally large and perfectly rounded with a diameter of approximately 13.57 mm. With fine and smooth texture, clear and translucent luminosity, and a soft luster, the necklace exudes both substance and grandeur. The glimmer of the ruby clasp stands out sharply amidst the expanse of serene green, presenting a complementary interplay that enhances the necklace’s depth and dimension. This is a remarkable piece bearing incredible harmony across the entire strand of beads.

Also featured is a 5.21 Carat Burmese Ruby and Diamond Ring. Natural, unheated rubies exceeding 5 carats are exceptionally rare in the market, and those originating from Burma (Myanmar) are widely regarded as the pinnacle of quality. This 5.21 carat ruby, cut in a classic cushion shape, displays a rich and pure brilliance, its crystal-clear transparency and intensity, brimming with a fire characteristic of only the finest Burmese rubies.

This pair of 3.03 and 3.02 Carat Burmese ‘Pigeon’s Blood’ Ruby and Diamond Earrings is also exceptionally prized. With nearly identical weight and proportions, the two rubies glow with mirror-perfect symmetry, exhibiting a regal and breathtaking beauty. Both rubies originate from the Mogok mining region in Myanmar. Revered as the “Valley of Rubies” since the 19th century, this highland region has been valued for producing rubies of the most intense color and purest crystallization, and remains the global benchmark for rubies to this day, as the highest standard of “pigeon’s blood red” is almost exclusively determined by Mogok rubies. This pair exemplifies such quality, displaying a vivid, deep, and saturated color with outstanding brilliance and inner fire. Verified to be unheated and naturally pure, they are an exceptionally rare and precious treasure.

Also to be presented is an 8.20 Carat Fancy Vivid Yellow Diamond and Diamond Ring. The diamond possesses a clear and intense hue, boasting a brilliant luminosity that flows vividly between the depths of gold. With distinct facets and compact brilliance, it is akin to a sunbeam encased in stone. With a clarity grade of VVS1, the diamond exhibits a pure and sharp radiance from its refined polishing and symmetrical cutting. The band is delicately set with small diamonds, subtly arranged and accentuating the presence of the center stone. The union of white and golden light adds depth and rhythm to the piece, creating quiet yet powerful grace, bright yet soft beauty. Most notably, its girdle bears the GRAFF inscription. Throughout its sixty years of history, Graff has adhered to rigorous standards in gemstone selection, ensuring all diamonds are traceable to their origins. This inscription is reserved only for the most exceptional stones, serving as the brand’s signature as well as a guarantee of quality and accountability, further elevating the significance of this yellow diamond.

This Pair of 12.69 and 12.31 Carat Sri Lanka Sapphire and Diamond Earrings by Bvlgari, represents a perfect fusion of color and craftsmanship, embodying the brand’s proud Italian aesthetic and gem-setting tradition. The heart of these earrings lies in the two cushion-cut sapphires, each weighing over 12 carats and sourced from the “Island of Gems” Sri Lanka. Sri Lankan sapphires have been historically cherished among discerning collectors and members of royalty, renowned for their exceptional clarity, and soft yet vivid tones. Weighing 12.69 and 12.31 carats respectively, the two center stones are nearly identical in form and proportion, exhibiting a harmony that is second to none. Their rich, serene color glows with a lively brilliance, while their high transparency and minimal inclusions confer a consistently saturated and enchanting blue hue under any light, exemplifying the classic qualities of top-tier sapphires of this origin. Bvlgari’s artisans have skillfully allowed the gemstones to take center stage; their artful diamond-setting technique, featuring a surround of marquise diamonds, enhances overall visual strikingness and radiance; while clean lines artfully frames and amplifies the intense coloring of the sapphires, resulting in an unforgettable contrast on all lay eyes on it. Such bold and elegant design perfectly continues Bvlgari’s legacy of exceptional mastery over color, form, and volume.

The marriage of a prized emerald from Colombia’s Muzo mines with pink diamonds from Australia’s Argyle mine birthed an Important 27.16 Carat Colombian ‘Muzo’ Emerald and Colored Diamond Ring, a piece destined to be recorded in the annals of jewelry history. The center stone, a 27.16-carat Muzo emerald, like an immortalized enchanted forest, bears the heritage of Colombia’s most prized emerald vein. Accounting for only 0.1% of global emerald production, “Muzo” is synonymous with top-quality emeralds renowned for their rich color and minimal inclusions. Remarkably, this emerald is completely untreated. Surrounding it is a halo of 1.5 carats of pink diamonds sourced from the Argyle mine in Western Australia, which boasts irreplaceable rarity — now permanently closed, the mine once supplied 90% of the world’s pink diamonds. The precise arrangement of yellow and white diamonds is akin to a symphony of light, enhancing the magnetizing depth of the central emerald. This ring is not only a masterpiece of jewelry craftsmanship but also a time capsule of natural treasures, capturing the lushness of South American rainforests and the dazzling sunsets of Australian red earth. Such intercontinental brilliance undoubtedly graces the wearer’s hand with the most precious natural legends from across two continents.

Poly Auction Hong Kong Autumn Auctions 2025 – Hong Kong Live Preview and Auction

-Hong Kong Live Preview and Auction- 
Date:           3 to 9 October, from 10AM to 6PM 
Auctions:     7 to 9 October 
Location:     4/F, Shun Tak Centre 

Poly Auction Hong Kong Autumn Auctions 2025 – Highlights Preview

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About Poly Auction Hong Kong

Poly Auction Hong Kong Co., Ltd., (Poly Auction Hong Kong) was established in 2012 by Poly Culture Group Corporation Limited and is committed to becoming one of the most dynamic auction houses in the Asia-Pacific region.

Committed to a diverse range of auctions, Poly Auction Hong Kong operates through five major departments: Modern and Contemporary art, Chinese Paintings and Calligraphy, Chinese Ceramics and Works of Art, Jewels, Watches and Handbags, and Rare Wine, Whisky. Each department boasts a team of professionals offering services such as consigned auctions, private sales, and complimentary valuation consultations, all aimed at providing collectors with an exceptional experience.

Poly Auction Hong Kong hosts numerous exciting auctions annually, consistently achieving impressive results. Since its debut auction in 2012, Poly Auction Hong Kong has held auctions and continues to set new records across various artists, art pieces and genres. In 2022, Poly Auction Hong Kong’s 10th Anniversary Auction held its first Modern and Contemporary Art Evening Sale, successfully pulled off a white-glove sale, realising a grand sale of over HK$410 million. The Autumn Auctions 2023 saw remarkable results in Chinese Ceramics and Works of Art auctions, with the “Meiyintang Collection” continuing its white-glove legend. In the Spring Auctions 2024, the Modern and Contemporary Art Sale achieved a robust sell-through rate of approximately 92% by lot, setting a new record for the highest sell-through rate.  In recent years, Poly Auction Hong Kong has set numerous world auction records, including Wu Guanzhong’s The Zhou Village, which established a new world auction record for the artist, and Zao Wou-ki’s Et la terre était sans forme, which ranked third in the artist’s world auction record and set a new auction record for works from his Oracle period.

Poly Auction Hong Kong is dedicated to promoting the global development of art, culture, and technology. Our initiatives include actively curating exhibitions and facilitating exchanges with renowned artists over the years. We also host special auctions for celebrity collectors and artists, special online auctions, and digital art auctions in recent years.

Poly Gallery Hong Kong has consistently supported local arts and events in collaboration with Poly Auction Hong Kong. Together, we aim to discover museum-worthy collections, often associated with the Poly Art Museum in China, while continuously introducing new ideas and visions to the Asian art market and art collectors worldwide.

Since 2016, Poly Gallery Hong Kong has been dedicated to providing a comprehensive fine art connoisseur experience by actively hosting a variety of art exhibitions, private sales, cultural salons and crossover events. Poly Gallery Hong Kong collaborates closely with distinguished curators, artists, as well as collectors and specialists in the industry to explore the limitless possibilities of art.

To further promote the arts within the community, we have successfully hosted talks and guided tours with private sectors, family offices, private clubs and more. These exhibitions have attracted thousands of visitors, with an average attendance of 2,000 per show including celebrities from Greater China.

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