Chu Teh-Chun Painting Sparks Lively Bidding Battle | Sotheby's

Why It Matters

The €920,000 sale demonstrates soaring demand for Chinese abstract art, setting a fresh valuation benchmark that could influence collectors, investors, and museum acquisition budgets worldwide.

Key Takeaways

• Chu Teh‑Chun 1988 painting sold for €920,000 at Sotheby’s.
• Bidding surged from €200k opening to over €900k in minutes.
• Multiple bidders, notably Thomas and Mario, drove intense price competition.
• Sale underscores rising demand for Chinese modern art globally.
• Record price may set new benchmark for Chu’s market value.

Summary

Sotheby’s auction house opened lot 30, a 1988 canvas by Chinese abstract master Chu Teh‑Chun, to a live bidding session in Paris. The work, noted for its vibrant brass tones and dynamic brushwork, entered the room with a €200,000 opening bid.

Within moments the price accelerated, climbing past €300,000, €500,000 and ultimately breaching the €900,000 mark. Bidders Thomas Bompard and Mario Tavella, among others, repeatedly raised the hammer, pushing the final sale price to €920,000.

The auctioneer’s commentary—“We are at €920,000, no further bids”—captured the intensity of the competition. The painting’s provenance, its 1988 creation date, and its status as a signature piece of Chu’s late‑career oeuvre were repeatedly highlighted as drivers of collector interest.

The result signals a robust appetite for Chinese modern art, positioning Chu’s works alongside other high‑value Asian masters. Investors and museums may view the €920,000 hammer as a new reference point for pricing similar works, potentially reshaping future auction strategies.

Original Description

A thrilling bidding battle over Chu Teh-Chun’s luminous painting ‘Le son des cuivres II’ ended with applause at #SothebysParis this week. After nearly six minutes of bidding, it doubled its high estimate to achieve €1.2 million at The Paris Sales.

This canvas belongs to a decisive period Chu Teh-Chun’s trajectory. Throughout the 1980s, the artist worked with increasingly large brushes, his marks growing broader and more powerful. He was also influenced by Old Masters such as Rembrandt, especially his use of light. ‘Le son des cuivres II’ contains dense passages of shadow from which shining focal points seem to emerge.

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